Nothing Says ‘Love’ Like a Band Reunion

Nothing makes you wish you could win the lottery, or unexpectedly come into money some other way, like one of your favourite bands reuniting for a show. One of the ones you thought you’d perhaps never get to see live, or never again if you’d already seen them.

There is certainly a benefit of a band reuniting without putting out a new (often disappointing) release. No questioning whether or not to go to the show, worried you’ll have to endure a bunch of shitty new songs in order to hear a few of your old favourites. In addition, there are the likes of Billy Corgan  – expecting fans to be so devoted they won’t ask for the old songs that changed their lives, and reprimanding them when they do. It doesn’t seem like a fair approach somehow, even if the artist cringes at the angsty, earlier chapter of their career.

Reviews and Suggestions

CD Review: Unruly Child “Worlds Collide”

After disbanding over sixteen years ago, the original members of Unruly Child have reunited to produce a brand new album entitled, “Worlds Collide.” Marcie Michelle Free (vocalist – King Kobra, Signal), Bruce Gowdy (guitarist – Stone Fury, World Trade), Guy Allison (keyboardist – Lodgic, World Trade, Doobie Brothers), Jay Schellen (drummer – Hurricane, World Trade, Asia), and Larry Antonino (bassist – Pablo Cruise) are the team that crafted the self-titled debut from 1992, which has become an underground classic among fans of melodic hard rock.

The rebirth of Unruly Child in 2010 is going to take a lot of people by surprise. On “Worlds Collide” the band springs to life with all the excitement and energy of a newborn. The first two tracks did little to excite me, but then “When We Were Young” kicks off a six-song string that 1990 radio would have been all over. “When We Were Young” has a nostalgic theme perfect for a reunion of this kind and is surely going to relate to older fans.“Love Is Blind” is another great tune that fuses the classic Unruly Child sound with that of contemporary hard rock, all helped by a huge sing-a-long chorus with great backing vocals – reminds me a lot of the new Foreigner record. “When Worlds Collide” is an engaging tune with interesting time changes and another memorable chorus.

Reviews and Suggestions

Rhone-ing on Empty

Marty Rhone – Born To Rock
Self Released

During the genesis of rock and roll, it would be safe to say there were few classically trained singers among the early pantheon of great rockers. Sure, they could all carry a tune for the most part or they wouldn’t have become famous, but most either had an overwhelming personality or were overflowing with charisma which covered for their lack of vocal prowess and allowed the pure energy and anarchy which fueled the primitive power of the music to shine through without being saddled with the added nuisance of having to be a flawless singer. Of course, rock and roll was always considered to be musically rudimentary trash by those who loved “real” music such as classical or jazz. We know today these sentiments are untrue and a lot of classical and jazz musicians doubled in the studio as rock session musicians whenever the need (the musician’s need for money, mostly) struck but for years the opinion stood. And rock and roll artists and promoters didn’t mind. They were only too happy for rock and roll to be seen as the music of youth and rebellion (as long as the parents gave the kids money to buy the records) and to be known as a trained musician or vocalist was to betray rock and roll’s proletarian ethics. But, that all changed to a large degree when Elvis Presley hit the charts, as he became the standard for singers in the rock world for many years. While not classically trained, Presley’s voice was unique and he had a natural way with melody, possessing a pure tone which enthralled listeners. By the time the ’70’s rolled around and rock began to evolve into a more progressive music and led to bands such as Journey, Yes and the like, being a trained singer was seen as a benefit, since rock had now become part of the establishment and had embraced classical (Moody Blues) and jazz (Weather Report, Mahavishnu). While accepted at the time, the notion of claissically trained rock singers became a slippery slope. For every Freddie Mercury there was a David Hasselhoff. Not a good sign! While classically trained vocalists are still to be found in rock and roll, most wind up on Broadway or in Vegas where they rightfully belong.

Which brings us to Marty Rhone and his new release Born To Rock.

Reviews and Suggestions

Sampler Shows Many Sides of Arnold’s Melodic Rock

Tony Arnold – Selective Hearing
Gray Mortuary

For those about to prog, we salute you! Well, not really, but it’s a cool idea isn’t it? Artist and master-of-qall-musical-trades Tony Arnold has decided to welcome and entice potential and veteran progressive rock fans with a comprehensive new sampler released on his own label Gray Mortuary. Originally starting the label as a vehicle to circumvent the tyranny of the major label system and enable him to release his myriad of music projects on his own terms and his own timetable, one of the first releases on Gray Mortuary was music from Arnold’s duo project Menage ‘A Twang.

Upon the dissolution of that project, the label has been used as a vehicle to release music from Arnold’s many other musical endeavors (he has released almost a dozen albums in the past few years alone) such as Macular Degenerates, The Pachinko Allahs, and Musaphonic. The name of the label originates from a song on Arnold’s first solo collection, Ophidian Lullabies, which became a sort of blueprint for his later projects of which this is Arnold’s most recent. Arnold’s Gray Mortuary work is distinguished from most of his other projects by the copious use of electronic soundscapes to anchor the compositions and Arnold’s projects are essentially solo efforts, as is this effort, which means every sound is played by Arnold. Quite awe inspiring, to be honest, as the textures and arrangements used are often quite inventive. While the album is definitely a sampler, there seems to be a thread running through Arnold’s work making each of these songs sound like they have come from the same project, which is also quite uncanny.