No Sky Today – No Sky Today

Capitol City Music Factory


No Sky Today is the creation of guitarist/keyboardist Wayne Findlay (Michael Schenker Group) and vocalist Paul Jones (Robot Lords of Tokyo). They released their self titled effort which is a hybrid that mixes contemporary metal, grunge and modern rock. It’s edgy, chalk full of monster grooves that are complemented by Findlay’s unforgettable guitar work and Jones’ powerful melodic vocal. The music is written and produced by Findlay who made the most of this opportunity to step out of the shadow of Michael Schenker—he shines throughout. Jones handled all the lyrics and melodies. When Jones and Findlay joined forces on No Sky Today; the duo created musical magic.


There are so many outstanding moments on No Sky Today like; “She’s on Fire,” which is an abrasive, tenacious grunge inspired track with a ferocious solo, “Break Up,” starts with a memorable intro that kicks into this Pantera-like grinding riff, “Real Life,” sounds like it could have been lifted right from an Alice In Chains vault of outtakes. No disrespect to No Sky Today as this is a keeper and has hit written all over it. “Pieces” features a surgically precise riff that tears through your eardrums like a hot knife through a stick of butter.


There isn’t a single track that could be considered filler on this album. In a perfect world No Sky Today would be a million album selling artist; unfortunately they’ll have to settle for selling multiple copies for the time being as they continue building their fan base. If you’re looking for a very cool band that that culls from the grunge, alternative, hard rock and nu-metal subgenres with wonderful results. And let’s not forget to mention that they don’t skimp you on the guitar heroics.

Girlschool-Hit & Run-Revisited

Wacken Records 2012

When a band sets out to recut classic songs from their back catalog it’s usually met with apprehension by the band’s core fan base. When a band sets out to completely re-record and an entire album--that’s downright insanity. That’s just exactly what Girlschool have done with their 1981 classic/signature album Hit & Run; which the band has revisited the record 30 years later .


I remember the first time I heard Girlschool--they knocked my sock off. Keep in mind that in the early 80s there were very few women that played this brand of driving hard rock ‘n’ roll. Girlschool gave their male counterparts a run for their money and the fact that they were linked to Motorhead made them even cooler at my prepubescent age. Hit & Run was my introduction to the band so in 2012 when they have issued a newly recorded version of the album; the first thing I had to ask is why? If it isn’t broke then why take the risk of tainting your legacy? Then again their last original studio album 2008’s Legacy was incredibly boring and lifeless—even guests like the late great Ronnie James Dio, Tony Iommi, J.J. French, Eddie Ojeda, Lemmy Kilmister, Phil Campbell and Neil Murray didn’t help. So I suppose after cold response to Legacy the thought of recording Hit & Run in 2011 and updating the sound and the production seemed like a great idea.


The band sounds very good on the re-recording and the production really adds new life to the songs and giving more muscle and a huge bottom end. The band in 2012 consists of most of the members who recorded the original version of the album. Kim McAuliffe handles co- lead vocals and guitar, Enid Williams handles bass and co-lead vocals, Denise Dufort remains on drums and guitarist/ vocalist Kelly Johnson who passed in 2007 when she lost her battle with cancer has been respectfully replaced by guitarist Jackie Chambers. Girlschool still have chops and it’s evident throughout this recording. The 2012 version of Hit & Run sonically speaking --destroys the original, what is sacrificed is the rebellious, youthful attitude of the original. Tracks like “C’Mon Let’s Go,” “Hit & Run,” and “Kick It Down” still hit the spot, the downside as was the case all those years ago; their blasphemous cover of ZZ Top’s “Tush” which is only second worse version to Joan Jett’s lifeless version heard on herThe Hit List album.

Buck Satan & The 666 Shooters-Bikers Welcome & Ladies Drink for Free

AFM Records 2012


Let me preface that I’m a huge Al Jourgensen and Ministry fan and I think that Al went out on a high note when he retired on the C-U LaTour. Just a mere two years since Al put Ministry in mothballs that they’re back and have an album coming in the spring of 2012. It sounds like the money has run dry doesn’t it? In addition to the new Ministry album and tour; after nearly 20 years Al has decided to release the highly anticipated album from his country side project Buck Satan & The 666 Shooters.


It’s no secret that Jourgensen is a fan of country music’s glory days of the 50s & 60s he’s played Hank Williams Sr. on the PA during the band’s set up. Al’s heart is the right place but this project is half baked. While it does have a ‘country vibe’ to it in the end it’s nothing more than a mediocre Ministry album with some ‘twang’ to it. The drum programming sounds great on Ministry records but on this it’s a horrible, unimaginative and down-right disrespectful. The fact that the band is plugged in and attacking the songs with the ferocity that they’d attack a Ministry tune just adds to confusion of this album. Just because you throw in some fiddle, some lap steel doesn’t make it ‘country.’


Al stated in a recent interview that Buck Owens blessed this band; I don’t believe him and Buck Owens isn’t around to speak on the matter. Al has also stated that he wanted country musicians to guest--they didn’t. I can see why. Among the monotony that is Bikers Welcome & Ladies Drink for Free there are a couple of moments albeit by chance I’m sure that produced a glimmer of hope; “Quicker than Liquor,” “The Only Time I’m Sober is When You’re Gone,” “Ten Long Years in Texas,” and “Cheap Wine, Cheap Ramen” are very good. If there had been more like the mentioned tracks this album would have gelled better and there would have been more cohesion. One word of advice for Al as he’s threatened to make another Buck Satan album; for the love of God drop the goofy programming and drum machines it makes the album sound like a demo! Do it right next time.

Styx-The Grand Illusion/Pieces of Eight Live (Blu-Ray & DVD)

Eagle Rock Entertainment 2012


Before they teamed up with Yes this past summer Styx hopped on the latest trend of playing an entire album live. Not to be out done Styx elected to play the spectacular The Grand Illusion album from top to bottom but also the extravagant Pieces of Eight record in its entirety. Styx was at their peak toward the end of the 70s and these two albums are still held in high regard by fans and critics alike.


This DVD entitled The Grand Illusion/Pieces of Eight Live was recorded November 9, 2010 at the famous Orpheum Theater in Memphis, Tennessee. Styx played both these classic albums throughout the entire tour and received rave reviews. If you missed that tour you missed a once in a life time opportunity but never fear the Styx has finally released the DVD of the Memphis performance. It’s unknown why the delay in the release of this DVD however it’s better late than never.


Let me tell you that this was well worth the wait this performance boasts a 20 song set and runs a magnificent 2 hours plus in length. The performance was shot with 11 high definition cameras and the audio is simply stunning. For those that aren’t aware Styx at the present time is comprised of James "J.Y." Young on vocals/guitars/keyboards, Tommy Shaw on vocals/guitar, Todd Sucherman on drums, Lawrence Gowan on vocals/ keyboards, Ricky Phillips on bass/backing vocals and Chuck Panozzo on bass guitar. As you watch The Grand Illusion/Pieces of Eight Live you are reminded just how many of the songs from these two albums are still played in the Styx set to this day. With songs like; “The Grand Illusion,” “Fooling Yourself (Angry Young Man),” “Come Sail Away,” “Miss America,” “The Grand Finale,” “Blue Collar Man (Long Nights),” and “Renegade” you’re reminded of just how many hits Styx generated between these two albums.

Scorpions-Comeblack

Sony Legacy 2012


In 2010 Scorpions announced that they would be disbanding after 46 years in the business. They would embark on a two year farewell tour behind their strongest effort in years Sting in the Tail. You’d assume Scorpions would follow up the brilliant Sting in the Tail with either a live album, DVD or both; not an album comprised of re-recorded Scorpions classics and a handful of covers from the 60s and 70s. The name alone makes you wonder if the band has lost their collective minds—Comeblack? I assume that’s a play on ‘comeback’ and a ‘funeral?’


The first sign that Comeblack is a haphazardly put together project—is the lack of liners. The breakdown on Comeblack looks like this; seven re-recorded Scorpions classics and six covers. Anytime a band re-records a classic it’s hard to recapture the energy and vibe of the original. Such seems to be the case with Scorpions and “Rhythm of Love” and “No One Like You” they sound too contemporary and Klaus Meine sounds genuinely bored—you can almost envision him in the studio saying “not this again?!” Things improve on “The Zoo” it has a live feel. Mathias Jabs adds a bluesy spin to the main riff as he does in concert. “Rock You Like A Hurricane” and “Blackout” have a detuned, edgier sound to them-- I’m indifferent about that. They round out the classics with the superb “Wind of Change” which is close to the original as is “Still Loving You.” The only reason I can think of Scorpions re-cutting a handful of classics is to own the masters which they can then shop for use for use in film, TV or commercials. That’s rock ‘n’ roll in 2012 people.


The covers are a mixed bag as well; Scorpions tried injected their brand of hard rock to some well-known tracks. “Tainted Love” the songs made famous by Gloria Jones is sped up and electrified however it doesn’t get past b-side status. The same can be said for their take of The Kinks’ “All Day and All of the Night.” Their take on The Rolling Stones’ “Ruby Tuesday” is an uninspiring version that had me tracking down the original. Scorpions hit the mark on their versions of T. Rex’s “Children of the Revolution,” The Beatles’ “Across the Universe,” and The Small Faces’ “Tin Soldier.” If they would have done more like the aforementioned it would have made for a better listening experience.


So this is how Scorpions got out; an album of re-treads and mostly uninspiring covers. As a Scorpions fan I would have loved Scorpions either do a complete covers album with deeper cuts or if they were re-cutting classics; dig deeper and bring in some guests. Comeblack simply isn’t a proper send off for this legendary band. So while the farewell tour rolls on-- I cringe at the thought of a classic Scorpions song being dropped from the set for let’s say, “Tainted Love.”

UFO-Seven Deadly

SPV USA 2012


On their last album Phil Mogg and Co ratcheted things up a few notches; the result was the no frills album The Visitor. The latest UFO offering is entitled Seven Deadly and features grotesque artwork that appears to have been created with microsoft’s paint program-it’s cringe worthy. Album cover aside the music found within is a continuation of the foundation (of this incarnation of the band) laid with You Are Here. Phil Mogg isn’t an extraordinary singer by any means, but he does a magnificent job and the right guy for the job in UFO. Phil remains the wily silver fox with the dry British sense of humor and note books of clever lyrics; “Fight Night” is evidence of this.


On album number four of the Vinnie Moore era they’ve delivered yet another astounding, solid, melodic classic rock record. Once again Vinnie displays a great feel for what the songs need rather than laying down meaningless notes and riffs simply for the sake of doing so. Moore has also injected a bluesy feel to the albums that he’s played in and this at the direction of Mogg. This is a great move that has given this version of the band its own identity. The standouts on Seven Deadly are;”Wonderland” it has a great hook and a spectacular solo, “Mojo Town” has a memorable groove, a great driving riff and a verbose solo. Ballads have been UFO strong suit; “Angel Station” and “Waving Goodbye” continue that tradition. Other standouts are; “The Last Stoner Rider” a great memorable mid-tempo track and “Fight Night” a rambunctious rocker that rivals “Hell Driver” from The Visitor. In 2012, despite the departure of Pete Way--all things are well in UFO land.

Queen-Days of Our Lives (DVD)

Eagle Entertainment 2012


There’s no question if you’re a hard rock fan that you’re familiar with the story of the band Queen. There’s also no denying the contribution they made that has helped shape rock music since their 1973 self-titled debut album. Unlike some of the documentaries that I’ve seen throughout the years this one is different; this one is sanctioned by the band and includes the participation of guitarist Brian May and drummer Roger Taylor. Unfortunately, the only appearances by bassist John Deacon is via vintage BBC interview footage. Deacon quit the music business since Queen disbanded after Freddie Mercury’s death and he doesn’t do interviews-not even for this documentary.


Days of Our Lives is a brilliant piece that covers the entire history of the band from May’s first brush with the young, flamboyant Freddie Mercury to the formation of the band to their breakthrough record a Night at the Opera, breaking in America, recording The Game and the songs that became stadium anthems . There were lows as well; losing America in the mid 80’s, declining sales in North America following the lack luster Hot Space, the near break-up and the ultimate death of front man Freddie Mercury from complications with Aids in 1991. The inclusion of people within Queen’s inner circle such as; record label representatives, management, studio personnel, and members of the media adds a diverse perspective on what was going on at different stages of the band’s career. The highlights of Days of Our Lives are; Queen’s by chance meeting with The Sex Pistols, Queen’s comeback performance at Live Aid, and the detailed accounts of the recordings of the criminally underrated last recordings The Miracle and Innuendo. That’s all you’re getting for a review; I challenge you to pick up the DVD or Blueray take two hours of your life and watch Days of Our Lives from beginning to end without interruption. You will be touched by the stories shared by May and Taylor. If you don’t feel May’s joy that he felt when he father told him he approved of his career choice or you don’t feel the pain and grief that both May and Taylor feel to this day about Mercury’s passing—you’re not human.