The last two offerings from the Vinnie Moore-guitared UFO have been good listens, and this continues the trend. As other reviewers have said, there is a more bluesy feel to a number of songs, but there is some good stuff here for all rock tastes. As with all UFO albums, you need to listen to what and how Phil Mogg sings to get into the song properly. His voice is still up to scratch, and Vinnie really is starting to provide a great foil/backdrop to Phil on this evidence. The rhythm section here is merely proficient, with absolutely no frills or fireworks, just basically keeping the beat and moving the song along. Some good typical UFO moments are to be had with "Hell Driver", "Stop Breaking Down", "Can't Buy a Thrill", and "Villains & Thieves". Overall then a really good listen. Lyrically quirky and brilliant, superb rhythm section and song structure, just tainted here and there by over indulgent guitar work. This is the 20th studio album in a monumental body of work.

In my opinion 'The Visitor' is more blues orientated than anything previously released, my only major criticism being that some of the really slick guitar solos don't quite blend with this style. I don't understand how they can record these days with separate musical parts laid down at different studios and later mixed together? Seems like more of a construction project than a rock 'n' roll album. There is something lacking, perhaps the live feel, the constant rehearsal, studio togetherness, that improvised magic that makes a song flow? Anyway, I fear they will need to pull something more original out of the hat to carry on to their next recording. New inspiration from the return of Way and Schenker maybe! Surely it can't happen can it? Cross your fingers.

The bitch is back and she is meaner and heavier than ever! 'Sad Day on Planet Earth' is the latest release from perennial American rockers Lillian Axe.

The new record finds the band serving up 15 brand new Lillian Axe rockers that are destined to be classics that emphasize melody and song structure while maintaining a hard edge. The entire album is solid featuring standout tracks "Megaslowfade", "Jesus Wept", "Ignite", "The Grand Scale of Finality", and "Within Your Reach". The guitars sound huge and thick and there are tons, and I'm talking TONS, of awesome heavy guitar riffs courtesy of Steve Blaze and Sam Poitevent on guitars. Blaze's leads and solos are full of emotion and they add something special to every song. His cool Blaze model guitars are featured on this album and certainly contributed to the depth and richness of the guitar tones, which are some of the best I've ever heard on a CD. Derrick LeFevre's vocals sound stronger than ever on this recording. The way Levfevre belts out the chorus to "Jesus Wept" will give you goose bumps. Bringing the thunder and rock solid foudation are Ken Koudelka on drums and bassist Eric Morris. As a unit this is the best I've heard Lillian Axe.

While they may sound heavier and a bit darker than their previous outings, the band sound tight as ever. If you're a longtime Lillian Axe fan like myself, you'll love this recording. If you're not yet a fan, this will easily make you one.

'Chutzpah', the latest release from The Wildhearts left me feeling like I had been hit with a great rock and roll punch in the jaw,delivered personally by the multi talented,and grossly under appreciated musical genius...GINGER and Co. What the hell is wrong with the music industry, that makes it seemingly overlook such BRILLIANT song writing talent? The industry is kicking itself in the nuts!

"The Jackson Whites" is definitely the best opening to a Wildhearts album. It's simply mind-blowing. It's ambitious and sprawling and yet still manages to feel tight and controlled. Just a great song. I really can't enthuse about it enough. Then there is "Plastic Jebus" a funked up groove rocker that goes for the throat from the first to the last note. The same goes for the rest of the songs on the album. All rockers and no fillers. The overall sound is fresher, more contemporary and, as noted, far more weightier than the band have sounded in ages. One thing is certain, this album will force repeated spins. It will ignite any listener who wants an aggressive punch of rock and roll with joyous sing along choruses to sweeten the pill.

While `Chutzpah' may not be better than the band's early works, it latches itself into yet another niche, representing yet another change of sound while, at heart, retaining the qualities that have earned the band their passionately dedicated fan base. It certainly presses all the right buttons. If anything, `Chutzpah' represents a re-invigorated passion within the band to get out there and ROCK THE HELL OUT, which can only be a good thing! You know that The Wildhearts could implode at any given moment so it's nice to know that if they never recorded another record, tragic though that would be, this would be a damn fine epitaph. Maybe it's about time we started appreciating their musical prowess a bit more than we have?

Six songs, 4 of them over 10 minutes, with another at nearly nine and another at 6, this isnt throwaway hook laden short stabs at commerciality. Dream Theater tread their own distinctive path through songs of epic length and proportion. It starts off great with "A Nightmare To Remember", a solid stab at furious riffing, barked rapid fire lyrics, a softer interlude and some shouted lyrics from Mike Portnoy to finish. Impressive stuff and sure to keep the fan base happy. It digs deeper into metal territory than Systematic Chaos dared go (lots of heavy riffage, and even a blast beat in 'A Nightmare To Remember'), but still somehow retaining the DT progressive edge, which shines out in the instrumental sections of some of the songs, notably the intro to 'The Count of Tuscany'.

'Wither', a ballad, and 'The Best Of Times' provide a slight reprise to all of this. 'Black Clouds & Silver Linings' deals with a couple of sentimental issues, especially 'The Best Of Times', which is an ode to the life of Portnoy and his father, who recently passed away. 'A Nightmare To Remember' is about a car crash that Petrucci was in when he was younger, and it is presented to us almost like a horror story. 'The Count Of Tuscany' is also another Petrucci experience, this time about a count that frightened him, and again, we are presented with an almost horror movie style description. At 19 minutes it is the album's longest track, with an Octavarium-style keyboard break seperating the pieces two 'sections'.

James LaBrie's voice is somewhat rested on this album. The vocal lines are lower than other albums, the highest note I think is a strained C5 in 'The Shattered Fortress'. He instead focuses on the lower part of his range to emphasise the deep metal choruses and riffs, which suits the songs fine, but I just feel there's something lacking, the high notes just made the songs that more special. In my opinion 'Black Clouds & Silver Lingings'is an instant classic. This recording combines all the technical prowess of Dream Theater with some genuinely moving and interesting music, not to mention some awesome Rush references (how they develop the Jacob's Ladder reference in the 'Count Of Tuscany' is genius). Based on my time spent listening to Black Clouds & Silver Linings I would recommend anybody to give it a try, be it progressive and metal fans, or just someone who appreciates music with that bit more depth.

  For those of you who are not familiar with Herman Frank’s work, let us give you the 411. Herman Frank is a German guitar player whose most famous gig was with Metal icons, ACCEPT. Herman joined Accept before the release of the band's classic recording 'Restless and Wild'. If you have the album Herman is the guy bending over backwards with his trusted Flying V guitar. Herman left after the band's following release 'Balls to the Wall'. He was preceded by Jan Koemmet and succeeded by Jörg Fischer. When Accept reunited for festival appearances in 2005, it was with Herman Frank in the spot alongside constant presence Wolf Hoffmann. Aside from ACCEPT, Herman Frank also recorded with Hazzard, Victory, Moon'Doc, Sinner and Saeko. He has also worked as record producer and mixer for Saxon, Rose Tattoo, Molly Hatchet and several others.

Now that we have you caught up with Mr. Frank's accomplishments let's bring you up to the present. Herman Frank has returned in 2009 with his debut solo release, 'Loyal To None' on Metal Heaven Records. The album was mixed and produced by Herman Frank at his Arena 20 Studios in Hanover. Herman has recruited a solid band to help him unleash his metallic masterpiece. Victory frontman Jiotis Parachidis (ex-Human Fortress) supplies vocals, Running Wild's Peter Pichl occupies bass, and Stefan Schwarzmann (ex-Krokus) steps behind the drumkit. With all the pieces of the puzzle put together, Herman Frank is set to make his own mark in the music biz. The Rocker and I had a chance to talk with Herman about the making of of his debut release, 'Loyal To None', this is what he shared with us.

Herman Frank: Well, I started working on the songs in 2007.That time I just wanted to record a couple of my riffs I had on many cassettes. I started listening to them and that gave me some ideas for songs. After a while I had 6 or 7 demoed songs. I played them to a couple of people and they mentioned to me to use the songs for a new album. The idea for Loyal to None was born. First of all, I then talked to Jiotis. He was on my side from the first moment on. So I continued to write more songs. Put some "Drums" ( Computer ) and Basses underneath and started to work on the melody lines for Jiotis. After finishing all of that, I let Stefan play the drums properly, Peter did the bass and Jiotis finished the album with vocals. Actually I wrote about 15 Songs for the album, 10 of which made it. The 11th was a bonus track for the Far East territories.

The Rocker and I along with The DRP and All Access Magazine want to thank Herman Frank for spending his time with us. 'Loyal To None' is out now, so be sure to check it out next trip to your local music store.

FOR MORE INFO on Herman Frank, please visit:
http://www.hermanfrank.com/

  Meet Machines of Grace. They are the latest among the gifted hard rock/heavy metal bands born from Boston's thriving music scene. As with their Beantown bred forefathers, (Aerosmith, Extreme, Godsmack, Dropkick Murphys) Zak Stevens (lead vocals), Jeff Plate (drums), Matt Leff (guitar) and Chris Rapoza (bass) have concocted their own proprietary formula for whiplash on a disc.

Top shelf status comes from the experience of successfully headlining major tours and support from a monumental fan base. Drummer Jeff Plate (Trans Siberian Orchestra, Savatage, Metal Church) and lead singer Zak Stevens (Circle II Circle, Savatage) have the resume to help catapult Machines of Grace into the monsters of rock realm. The divine mix of such magnanimous talent can convert even the most stubborn music critic. Why? The method to their madness is embedded in the music...

"It's just a pure, solid melodic rock sound," offers Stevens. "It has infectious grooves and its own brand of outright power. To me, it's got great songwriting with a hard rock edge and strong commercial appeal."

The rise of the 'Machine' had to start somewhere...

Leff and Stevens have a lengthy history, spanning back to their days as prote'ge's at GIT/VIT respectively. Their first band, Wickedwitch, also introduced the talents of drummer Jeff Plate, who clinched the line-up and formed the backbone of today's brainchild: Machines of Grace.

During a considerable hiatus after the demise of the Wickedwitch project, Zak Stevens had gone on to front Savatage (and more recently, Circle II Circle), and later recruited Jeff Plate, who performs regularly with the Trans Siberian Orchestra and Metal Church. Meanwhile, Matt Leff had formed Trigger Effect, and with bassist Chris Rapoza, had toured as an opening act for Iron Maiden, Queensrÿche and Rob Halford.

Time had clearly hit the afterburners. Call it chemistry, fate or pure coincidence. A Wickedwitch fan suggested that the founding members revise, rethink, record and release the original material, and voila - Machines of Grace was conceived.

This band accords a shot of rock and roll that infuses several music genres with an innovative twist of smoldering vocals and bludgeoning guitar riffs. Blend that with an explosive rhythm section and you've got an exceptionally powerful elixir.

"I'd say we're a mix of melodic metal, hard rock, modern rock and acoustic rock," explains guitarist Matt Leff. "The current rock climate is calling for modern production, strong vocal melodies and memorable songs from guys that can really play. I think we fit that description."

Bassist Chris Rapoza agrees: "The CD has an amazing vibe that just flows really well and makes you want to listen to it all the way through. To me, song writing and recording with that same quality always makes for the best type of album."

Jeff Plate tops off the sentiment: "The music is metal, but not thrash. Rock, but not pop. We could be compared to a number of different bands, and each song will give you a different impression, but in the end the sound is distinctly Machines of Grace."

That sound is likewise attributed to the talents of veteran mixologist Paul David Hager. Credited with engineering, mixing and producing studio work by acts such as The Goo Goo Dolls, Avril Lavigne, Pink and Tracy Bonham, Hager brings to the table a record destined for the spotlight, and plenty of industry accolades.

Live, this band brings new meaning to the term full throttle. The killer studio version of the music not withstanding, Machines of Grace takes a live performance experience to a whole new level. Fans will really enjoy the dueling guitar and vocal arrangements, while the second-to-none rhythm section welds them together perfectly.

Zak promises, "You'll hear the emphasis on the album, the way the mix very closely depicts how this band actually sounds when we plug in." How many bands these days can do that?"

Look for the debut, self-tilted Machines of Grace CD this summer.

For further information:
http://www.machinesofgrace.net
http://www.myspace.com/machinesofgrace

  The verdict is in! The Answer ROCKS! The band's highly anticipated sophmore release 'EVERYDAY DEMONS', will blow you away once you press play!

Blessed with great musicianship and songwriting, the lads believe their youth and energy to convincingly channel the spirits of 70s hard rock bands like Led Zeppelin, Deep Purple and Thin Lizzy. The Answer are, Cormac Neeson on vocals, Paul Mahon on the six string, Micky Waters handling the bass, and James Heatley on the skins.

Four guys hailing from Northern Ireland who grew up listening to their parents' record collection. The result - exuberant Rock music played with guts, power and loads of skill that captures perfectly the excitement and joy of the shared experience which is great Rock 'n Roll From the second, "Demon Eyes" fires out of your speakers its no holds bar rock and roll at its finest. Then you have numbers like, "Too Far Gone", "Dead Of The Night", "Pride" and the guitar laden mover, "On and On", that are simply put, pure uncut full throttle rock and roll power.

There is seriously not a weak track on here and it sets the bar really high for future rock albums this year and for many years to come. Yes, their Free and Zeppelin influences shine brightly, but this is no cheap classic rip off outfit. This is young, fresh, and has more power than suped up turbo charged '67 Chevy. Mark my words, The Answer are set to re-energise and revive the rock music scene and take it to a new generation. 'Everyday Demons' is a terrific ride of an album that shows, in complete contrast to the depressing wailings of the trendy indie set, just how joyful and exuberent music can and should be, and how tremendous it can make you feel.

There is something for everyone here: The Answer this WILL restore your faith in modern musicianship and give you hope for the future. The lads gave us fair warning with their powerful debut release 'Rise'. Now they are back and they are taking no prisoners! Welcome back boys!

  Lock up your daughters, batten down the hatches and get ready for a rock and roll experience that will blow you away! Australia's Electric Mary are here to kick your ass!

Uncle Rusty on vocals, Pete Robinson on guitar and vocals, Irwin Thomas on guitar and vocals, Fox Fagen on bass and vocals and Venom on drums. Five talented musicians with attitude, no nonsense song writing, fantastic guitars that will set your soul on fire and a vocalist who sings like he means it. What you end up with is one of the best rock bands to come out onto the music scene in quite some time.

The band's highly anticipated debut release, 'Down To The Bone' has it all. From the moment the pulsating rocker, "Let Me Out" fires out of your speakers the band has your undivided attention. Then there movers like, "No One Does It Better Than Me" and "One In A Million" that are guareenteed to shake your soul in ways unimaginable. There are no fillers here, every track is a winner. If you like that classic rock sound that has attitude and tons of soul, you'll really love these guys. Great guitar licks, excellent song structure and phrasing. The band's leader singer, Uncle Rusty is easily blessed one of the best rock vocalists in recent years.

It's great to hear a band with this raw intensity and skill in this age of whiny emo and "just plain loud" rock bands. Electric Mary have it down and bring a freshness to the genre. It's solid hard rock 'n' roll all the way. Do yourself a favor and get yourself a new best friend with 'Down To Bone'. Good music is hard to come across and these five rockers from down under totally hit the nail on the head. If you have a soul, Electric Mary will make sure it gets rocked. I guarantee it. There is a reason they are Australia's "Best Rock Act" and this release proves it ten fold!

  Billy Sheehan returns with his third solo release in the form of, 'HOLY COW', and it's a master-class rock recording.

Featuring guest appearances from Doug Pinnick of King's X lead his vocal talents on "Turning Point", then you have the Reverend Billy F. Gibbons of ZZ Top on the sizzling mover, "A Lit'l Bit'l Do It To Ya Ev'ry Time". Also making a cameo appereance is Billy's former Mr. Big bandmate, Paul Gilbert.

Billy has taken what he created with his two previous works, 'Compression' and 'Cosmic Troubadour' and taken his musical creativity to a whole new level. Every song is amazing. I love how he mixes it up with vocal and instrumental tracks. Sheehan's bass playing stands out once again. The bass lines are just insane and the recording is made for playing at maximum volume. Billy's songwriting and vocal chops are impressive. As is evident on tracks like, "In A Week Or Two", "A Bloodless Casualty" and the groove laden melodic mover, "Make It To Another Day". Also featured are three bonus tracks, "She Goes From Cruel To Missionary", "Sweat On An E String" and "Swimming Underwater".

Although Billy Sheehan has always gotten credit for his dazzling solos, he's also knows how to pull back and groove with his bass. And he can play more than the bass guitar. 'Holy Cow' is a testament to all this. From start to finish, 'Holy Cow' is a true testament to how talented Billy Sheehan is. If you are in any way a fan of Billy Sheehan or maybe just a fan of well played music, I cannot recommend this CD enough.