By: Lior Aronoff

Melissa Etheridge brings back rock and roll with her latest album, Fearless Love. In each song you can feel every emotion, not only in her singing but in the guitar solos as well. She runs the gamut; from longing, to anger, to sadness, to freedom.

“Fearless Love” and “Company” are definite favorites. Both are about searching for love. Actually, the running theme seems to be about searching for and wanting freedom and independence, or the yearning for something more. “The Wanting of You” is a song about a woman who seems to have it all; married to her high school sweetheart, children, white picket fence…until one wild night in Chicago. Now all she wants is that someone new. She loves her life and her husband, but still wants “you”; classic Etheridge rawness.

Whether you have been a Melissa Etheridge fan for years, or are just discovering this amazing talent, this is definitely a “must have” album.

By: Stephanie Tarlton

In an era where most bands make a big splash and then quickly fade away, it's good to see there are some who have staying power. Puddle of Mudd's Volume 4: Songs in the Key of Love & Hate proves they are here to stay.

With at least seven songs that could have major radio play, Puddle of Mudd has done it again. The thing I like most about this CD is the dynamics. The band didn't say, "Let's pick three chords and write an album." Each song stands on its own.

It seems today everything has to have a label, so I will give this CD one: Good Rock Music. From the party style rocker "Stoned" to the comedic "Hooky" this CD is indeed rare. It is one that you can listen to all the way through without skipping the filler songs. With the melancholy "Better Place" thrown in, the title of the CD makes a lot of sense. Overall, this CD will add to any collection

By: Seth Richtsmeier

Dead Cats Dead Rats were recently nominated for the Boston punk category of the annual Boston Phoenix Best Music Poll, a poll that offers great recognition and exposure for local acts. Hailing from just outside the city, the trio treks to and from various bars and clubs in the metro area, playing to crowds big or small and having fun doing it. Rocking out and packing up for the haul on many a late night, these guys are hereby judged worthy as a best Boston act… not to mention their music is slammin’.

Riff is the band’s second full-length album and features more of the grunge and punk sounds heard in their self-titled debut. They’ve probably heard enough Nirvana comparisons by now, and those are undeniable, but there’s more to their essence. Like before, most of the songs are not more than two minutes long and are played with a relative urgency, much like early Wildhearts stuff – it rocks! There aren’t any lulls, and it’s a rich, full sound with prominent bass tone (“Chuncky” is a song title sure enough).

The bass, as a second guitar, really helps make this band what they are. “Jungle Carpet” is perhaps my favorite song with a trivial-yet-cool drum intro, classic raspy vocals, and dueling guitar and bass. There’s even a jammy bridge towards the end that defies tradition for their standards (they’re not really the jam types). “Fritter Blues” is kind of the black swan of Riff. It’s a bluesy/rockabilly rock number; totally unexpected. I like it as the last song of the album.

Frankly, I’ll be baffled if Dead Cats Dead Rats don’t receive the title for best Boston punk act, but either way they are not to be overlooked. Win or lose, do yourself a favor and check them out.

By: Lior Aronoff

 

Listening to Bon Jovi’s latest album, The Circle, is like taking a trip down memory lane. In typical Bon Jovi form, there are plenty of anthem songs and of course, a few rock-type ballads as well. It’s the type of album you can sing along to loudly, while driving to work or on a road-trip.

“We Weren’t Born to Follow,” the opening song, could easily be this summer’s anthem. Listening, it’s so easy to envision the concert version. They easily relate to the everyday American with songs like “Work for the Working Man”. Every line of the song is something any American has said or hought in these economic times. “Who’s gonna work for the working man, hurt for he working man,”“Empty pockets full of worry,”“I’m the only one who’s gotta look my family in the eye,” are all lines we can all relate to.

For Bon Jovi fans, this album does not disappoint. They stick to what they do best.

By: Seth Richtsmeier

Addicted is the second album of the four-part series under the Devin Townsend Project pseudonym, essentially a project featuring Townsend and musicians he hand-picks for each album, which is really cool. Ki, the first part released six months prior, serves as a delectable appetizer with mostly tranquil listening. It’s controlled and teases with letting the wrath loose.   Addicted picks up where Ki left off, the perfect second course. The building anticipation in the title track is heavy. It’s exciting.

There’s a plethora of sounds and protruding from them all is the experienced, yet virtually unheard of Anneke van Giersbergen, female Dutch singer. Her gentle voice is everywhere – sometimes in the background, sometimes in the forefront, and she surprisingly complements Townsend’s wild side. One song that features her alone is the revamped “Hyperdrive” from Ziltoid the Omniscient, formerly with Townsend’s vocals, but now with Giersbergen’s.

While Townsend’s subtler stuff like Ki doesn’t go unappreciated, it’s the radical stuff that most people really love, and Addicted brings back the “wall of sound” but in a more melodic fashion. Each and every song is catchy with metal elements. Most songs are “Material”-like (Physicist) with a whirlwind of layers and effects, varying degrees of Townsend vocal intensities, and just plain greatness. The exception is the relatively tame “Ih-Ah!” and ironically it’s one of the better songs. Try not to sing along.

Addicted is more commercial than previous solo projects and is beautifully heavy. It’s very easy to get in to and will likely go down as one of Townsend’s most approachable albums.

By: Seth Richtsmeier

Blackhole, who are these guys? They’re a hardcore punk band from England, formed just a couple years ago. Lead singer Richard Carter is the brother of the Carters in another hardcore punk band Gallows, and in Blackhole he is at the forefront of an attack of throaty screams and manly riffs.

There is no subtle introduction with debut album Dead Hearts as “Don’t Cry” gets right into the intense guitars and vocal delivery (Carter will make you say “Whoa”) for a minute and a half. It’s about as pleasant as a backhand to the face, and once you’ve gathered yourself you are treated the next number, “If Only,” that has a Southern rock twang... except with, you know, Carter’s harsh vocals.

At times the band, instrumentally, bares a likeness to Southern rockers The Showdown with sludgy, southern-like riffing. The guitars are my favorite part of this band and you’ll find some cool interplay in songs like “Scared to Change” and “Can’t Breathe a Word.” Having two guitars playing different leads without getting sloppy is an admirable feat. Cheers to Andreas Yiasoumi and Nick Mitchell.

I can honestly only take so much of Blackhole before turning to something less crazy to maintain my sanity, but when I’m in the mood to get loud or bother an old lady, Dead Hearts fits the bill. These guys have a bright future ahead of them, and if Richard Carter doesn’t destroy his vocal cords, we’ll be hearing more from them very soon.

By: Seth Richtsmeier

Dirge Within are a band founded in 2007 by most notably guitarist Shaun Glass (formerly of Soil) having recently released their debut Force Fed Lies in late 2009. The band is easily identifiable as everyday American metal, but look at it this way – a better, faster, heavier version of Soil is essentially how you’d label these guys in a few words. It’s nearly impossible to ignore the fact that Glass brought the sound with him when he left Soil with an unmistakable likeness throughout the entire album. He teams up with a singer who refers to himself as “Jerms”, creating aggressive-yet-catchy songs out of Illinois, and Matt Szlachta (guitar), James Pezanoski (bass) and Jimmy Knight (drums) round out the quintet.

Dirge Within pack melody, aggression, heavy riffs, and solos into a very approachable album (think Drowning Pool, but more up-tempo). The openers “Self Medicate” and “Forever The Martyr” are fairly indicative of what the rest of the album offers with heavy guitar riffs, screams, and a memorable chorus.

Produced by Edsel Dope (of Dope), not surprising are guest spots on the album: Edsel Dope vocals on “Spit,” a Virus (of Dope) guitar solo on “Complacency,” and Wayne Static (of Static-X) vocals on “Inhuman.” So there are some nu metal elements here as well. And while the band is approachable, they do retain elements of thrash and metalcore that could scare away the softest of rockers. Pounding drums and shredding guitar leads dominate the album. Mind you, the band did happen to tour with Lazarus A.D., a recent thrash signee of Metal Blade Records with one monster of a debut The Onslaught.

Overall, a solid debut and surely worth checking out since it’s arguably the best stuff Shaun Glass has done. If Force Fed Lies is skimming the surface of potential, the future of Dirge Within looks promising.

By: Seth Richtsmeier

Hubris I & II is the debut release from Andreas Kisser, guitarist for Brazilian metal band Sepultura. More than ten years have passed since Kisser took over as lead guitarist for Sepultura (starting with the Against album in 1998), and I say that because some of this solo material sounds like it could have been part of the band with him at lead, or even just released by Kisser himself years ago. Perhaps this could this be due to inspiration over the years. At times it sounds dated, but that takes nothing away. On Hubris I, “Euphoria/Desperation” and “Eu Humano” have nu metal and groove metal tones that were so popular in the 90s, comparable to the likes of Soulfly.

“Virgunlandia” actually sounds like Jerry Cantrell had something to do with it – the song is slow, grungy, and Kisser’s vocals bear somewhat of a likeness. He’s surprisingly not bad. My favorite song is the instrumental “R.H.E.T.” as it truly showcases Kisser’s talent as a guitarist. It begins with a classical lead and transitions to a layer of acoustic and electric guitars, which then segue to a heavier lead and a solo. The song is perfect as an instrumental, although I’m curious what it could sound like with some vocals over the heavier parts. That could really get the blood flowing. “Em Busca Do Ouro,” features performer Ze Ramalho, who in my opinion is a Brazilian Jack Bruce (Cream) at the microphone with a veteran fragile-yet-firm voice.

Gather yourself, because now it’s time for something completely different. Hubris II is all instrumental, no vocals, barely any electric guitar, and plenty of classical and acoustic guitars. “Worlds Apart” and “Breast Feeding” (tell us the meaning behind this one, Andreas!) have Latin roots, “Page” and “O Mais Querido” have folk roots, and you have classical guitar showcases like “Vivaldi.” After getting amped up from the first disc, relax and absorb the delicate second disc.

By: Seth Richtsmeier

Chevelle have been a consistent band, an unbelievably consistent band. Unique and indie debut Point #1 aside, Chevelle have essentially put out similar, solid efforts the last four albums. Some artists have a remarkable or dud album somewhere along the line, but the group has been unimpeded even with the departure of brother Joe Loeffler (who teamed up with Marcos Curiel of P.O.D. and Dave Buckner of ex-Papa Roach on a project called Daylight Division).

Sci-Fi Crimes is the second album with new bassist Dean Bernardini. He actually is credited for the oil painting artwork. Cool, but what’s the meaning of the title and all, you ask? The album is partially influenced by spooky encounters and strange inspirations. Decipher from the lyrics what you can. “Roswell’s Spell” speaks of abductions and hoaxes, not to mention the blatant use of Roswell. “Highland’s Apparition” is essentially just Pete Loeffler and an acoustic guitar singing about apparitions (of course) and such. He’s not a guitar virtuoso by any means, but he sure knows how to write a song. I find this to be one of the better songs on the album, even if it’s not typical Chevelle. Surely an acoustic live show could work....

Back to Bernardini, and not to take anything away from him, but these guys are better as a trio of true brothers, even if Bernardiniis in fact a brother-in-law! With Joe on the first three albums, each was a little different without completely changing who they were as a band, and with Bernardini its like Vena Sera and Sci-Fi Crimes could be paired as a set if it weren’t for the differing themes. The two sound rather alike. Bernardini's part on the opener “Sleep Apnea” makes me want to pick up a bass, though.

All in all, Sci-Fi Crimes is more of the radio-friendly hard rock (see: singles “Jars” and “Letter From A Thief”), thick guitars and catchy songs Chevelle are known for. There will probably be more of it in a year or two.

By: Producer, Toby Wright

First off, this is a kick-ass band! Sammy Hagar, Joe Satriani, Michael Anthony and Chad Smith…wow, I am knocked out! However, I am here to review the album, not the historic significance of each of its members. You can do that at http://chickenfoot.us.

This album is exactly what I expected from these musical wizards. It is bluesy, modern, rockin’, mindfully crafted and a good-time listening. If you are a fan of any of these musicians’ previous bands or solo careers, you won’t be disappointed in this effort.

Hagar’s vocal prowess is amazing as ever and he uses it with cunning accuracy at every opportunity. Satriani shines like never before in an arena where we have seldom heard him prowl around. The guitar riffs, melodies and rhythms are amazing and keep me coming back for more. Anthony and Smith are also amazing on this record. They hold down the grooves and accent the foursome with some very enlightening and provocative rhythm movements.

This record is a lesson to be learned by the younger set. There is a reason these guys have been at it for so long and the music says it all. The fusion of experience and innovation is staggering. Great record, 10 out of 10!

By: Stephanie Tarlton

Former DLR and Mr. Big bassist, Billy Sheehan, comes through with a fun musical ride. He delivers with surprisingly good vocals and, of course, the bass is outstanding.

This CD has a few special guests. Billy Gibbons lets his style show through on the boogie rocker "A Lit'l Bit'l Do Ya Ev'ry Time" and Paul Gilbert has his fingers working well on "Dynamic Exhilarator".

The entire CD is very listenable, however, there are a few songs that stand out more than others. For instance, "In a Week or Two" is pure rock and roll. "A Bloodless Casualty" is rock in a new age style. I also like the panning on this song from left to right and ending in the center. That's a nice mixing trick. The instrumental "Them from an Imaginary Sci Fi" is Sheehan at his best. The "Staind-style" rock ballad "Make It to Another Day" truly shows Sheenan's range as an artist. Finally, bonus track "Swimming Under Water," is a nice cool down after this dynamic rock ride.

By: Kelly Lloyd

As taken away as I was by Taylor Swift’s debut CD, her follow up attempt has been double the “wow”. At only 18 years old, this beautiful Pennsylvania native came out swinging like a pro.

Fearless covers the romance of a teen girl from start to finish; touching on every single emotion every girl has been caused to feel by a boy. From the fantasy tale told by “Love Story” to the heartsick “Breathe” and “White Horse,” the lyrics probably could have been lifted directly from any number of 15 year old girls’ diaries. The nervousness felt on the first day as a high school freshman, chronicled in “Fifteen,” is something every girl can identify with. It’s common knowledge that most of Swift’s tunes are written specifically for true life situations and a certain boy, such as “Forever & Always,” derived from her break up with Joe Jonas, which just so happened to be written and recorded in only one day.

Although I feel the messages her lyrics convey are geared towards girls in the 17 and under age bracket, having just turned 40 years old, I love them more for their ease in “sing along ability”. This is the best CD to put on in the morning and enjoy singing along to on the ride to work. There’s nothing more enjoyable when you are stuck in traffic at eight in the morning than drinking a cup of coffee and yodeling out some Taylor Swift tunes.

Vocally she is one of the strongest singers out there today. She can sing soft and sweetly yet be strong when needed and happily I have witnessed her live doing just that. Her gift as a songwriter pushes her past many other artists and is going to insure that she will stay at the top of the country charts for years to come. It will be interesting to see what and who she writes about in the future, if anyone will ever be brave enough to date her given her penchant for musically laying it on the street. Expect great things from Swift. I sure know I do!

By: Candlebox's Scott Mercado

While on tour, most recordings presented to us end up in the circular file cabinet after listening to the first couple of tracks. Not this one.

I must admit to being a bit of a sucker for a song that starts out dark, morphs into a plodding “Transformers” type beast-machine thing and finishes off with a heavy John Bonham type beat reminiscent of “When the Levee Breaks”.  The first track, “Prepare Yourself,” off Dear Enemy’s Believe the Rumors does just that. From there, somehow this band is able to neatly segue into “Gravity,” a tight up-tempo song with a catchy chorus.

By the time I finished this CD, I got a sense that this band could go all the way. I especially liked “Rumors” and even more so “Innocent and Pure,” with its slow atmospheric guitar riff at the intro and verses. These guys are no hacks on vocals either and "Falling Down" definitely shows that. The CD ends with a somber yet inspired track "This is My Goodbye".

I think we can expect great things from this band. My favorite new band and the best to break out this year!

By: Kelly Lloyd

Black Stone Cherry’s second career release, Folklore and Superstition, definitively proved to their fans the success of their first album, by far, wasn’t a fluke. Reminiscent of the great storyteller bands such as Lynyrd Skynyrd and The Black Crowes, BSC puts forth a solid effort of great down home southern rock.

This was easily one of the best releases of the past few years. “Please Come In,” my favorite song off the album, appears to be the preamble to a new relationship, while “Ghost of Floyd Collins” takes you on a spooky ride of sorts. “In the Key," comes out of the gate with this bad ass groove that you can’t help but move to, coupled with lyrics I think anyone that has ever questioned things in their life can identify with. The emotional ballad, “Things My Father Said," ensures this album will appeal to the more sentimental listeners as well.

What stands out most about this album is the lack of over-production that contrarily seems to saturate most albums these days; kind of a “what they played is what you hear” type of recording. From beginning to end, this album will have your toes tapping and your head rocking back and forth; just general feel good music. In the “food for the soul” music category, this album is the southern fried chicken on the table; some crispy and crunchy skin mixed with the goodness of moist, juicy meat that leaves you fat and happy with a satisfied smile on your face!

Folklore & Superstition is a phenomenal classic rock album that could be thrown back into the ‘70s without missing a beat! This album solidified my love for this band and has me excited to hear what they put out next!

By: Dear Enemy's Gogi Randhawa

Into the Sun feels like a conglomeration of everything you would expect from Candlebox with a few surprises thrown in. Many people always talk about the self-titled debut, but Lucy and Happy Pills were underrated and not given the attention they deserved. Into the Sun is no different.

Peter Klett's blues based guitar riffs and solos are just as solid today as they were in '93. Scott Mercado's drumming is still as tasteful as ever, laying back when necessary and throwing in some monster fills at just the right times. Kevin Martin never lost a beat.

I was fortunate enough to check the guys out at a show in Atlanta recently. It was actually my first time seeing them, even though I have been a fan for years. The show amplified my love for this CD. They just looked like they were having a blast. Martin was not only on point vocally, but interacted with the crowd in between songs in a way that made it much more personal. That vibe translates perfectly on to this CD. His vocals have that awesome flowing live feel, while still providing the vocal hooks you would expect. He has a carefree impromptu feel to his style. The slight inflections and turns in his voice keep the songs interesting and are very indicative of a live show feel.

Into The Sun has several moments that have that 70's arena rock feel, where you can see a crowd of 30,000 just in the moment. Several songs are longer and there are some extended breakdowns that have that jam feel. Songs range from the driving hard rock sounds of "Stand," to the ballad-esqe movements of "Miss You" and "Breathe Me In".

This CD has everything a Candlebox fan would want and more. In short, go get it!

By: Emilio Arostegui

From the opening monologue, it is apparent this is more than just a speaker rumbling CD. Haunting excerpts from the book Heroin Diaries line this work of reality rock with perfect placement as the music takes you for a ride into the story of a life no one was expecting, but somehow have heard before.

The song “Life is Beautiful” has been thumping on the radio waves for months. Even before knowing who, what, where and why, I wanted to hear more. Great grooves, powerful vocals and flowing moods make this a CD worth a listen. It’s been a while since I left one in the tray from start to finish, but I don’t think I will be pulling this one out any time soon, as I find more to like with every listen.

This is pure rock at its best; the reality of it takes it from a whisper to a scream.