Category Archives: Album Reviews

Album Review: Bethan Lees – Ships

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Bethan Lees

photo courtesy of Bethan Lees

by James Morris, Contributing Blogger

EP Review of Bethan Lees: Ships

Back in September, you may have seen a review I did for the debut single release from UK singer-songwriter Bethan Lees. Time has flown by, and those warm post festival summer days seem like a distant memory as I sit here writing with the rain hammering down on a particularly cold November evening. But November is the month I have waited for if only to get my hands on the new Bethan Lees EP release, Ships, which is out 25th November on Folkstock Records.

If you remember, I was most impressed by what I heard when I listened to her first single “Post Festival Blues” and couldn’t wait to hear the rest of the EP. Well, now I can report that along with “Post Festival Blues,” the EP has 3 other gems on it. The title track “Ships,” the bluesy jazz sound of “Water and Wine,” and the haunting “Sleep.”

Bethan Lees - Ships

image courtesy of Folkstock Records

First and foremost you notice the voice. What a voice! Sometimes sweet and cheeky, and at others, ghostly and ethereal. A slightly husky, whispering tone comprised of such unique melodic tones that it makes the hairs stand up on the back of your neck. This is a young voice with a depth of maturity that at times seems to channel veteran blues or jazz singers from the past. It is unaffected and not forced, and this naturalness makes her such a pleasure to listen to.

There is a small arrangement for each song based around her guitar and voice. A little bit of drums and double bass, some eerie cello on her title track “Ships,” just enough to colour the songs. To be honest, I think they would have stood up on their own with just her voice and guitar, such is the strength of the material and performance. Maybe this would have brought out even more of the intimacy of her delivery; sometimes when she sings it is like a ghost whispering in your ear. That said, the EP is a great opportunity to hear the embryonic magic of what I believe Bethan will continue to produce.

She has a rare talent, and I believe from what I’ve heard so far she stands uniquely poised for some exciting times ahead.

On December 15th, she is launching her EP with a live performance at The Lamb Inn, Lewes, East Sussex. She is going to be joined by a few of her musical friends, and I would think it will be a fine evening to show off her talents playing tracks from the EP plus even more of her new material.

Catch up with her activity on Twitter.

Album Review: Sonic Syndicate – Confessions

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Sonic Syndicate

photo courtesy of Head First Entertainment

Album Review of Sonic Syndicate: Confessions

My first thought when I heard “Confessions,” the title track, was that George Michael was singing synth-pop with a heavy backbeat and rock guitars. An intriguing opening track, it announces a brand new sound for Sonic Syndicate, and even as Confessions settles into its heavy melodic synth-infused rock core, it is very much unlike anything else in my collection and quite different from Sonic Syndicate’s prior releases. I’m sure it’s causing quite a bit of consternation among the band’s legion of existing fans.

Sonic Syndicate - Confessions

image courtesy of Head First Entertainment

Indeed, yes, when Nathan J. Biggs took over vocal duties on We Rule the Night, there was a noticeably more melodic shift, but Confessions is a seismic departure. I’m intrigued, but I also wasn’t a devoted fan before the change, so I enter the equation without preconceived notions. The synth-driven beats, pop vocal sensibility, and persistent beat (almost like you’d expect in a dance club) are truly a hybrid sound. On this disc, Nathan and founding guitarist Robin Sjunnerson are joined by Michel Bärzén on bass, as well as other musicians in the studio. And they’ve produced a one-of-a-kind sound worth taking a chance on.

Third track “Start a War” is a standout track, as it builds to power, stops and starts a bit, and plunges forward with an infectious heavy melodic rhythm.

Throughout the album, there are small details – like the guitar run in “Falling,” for example – that serve as hooks while showing the care that went into the song construction and production here. And the bursts of power in “Burn to Live,” strung together with softer vocal bridges and walls of synth and guitar provide the song with an engaging energy.

Beyond that, I suppose “Still Believe” would be a ballad in the scheme of Sonic Syndicate’s sound, with its slower pace, and there’s a seriously pop angle to the vocals, but the heavy drums are still there. Second-to-last song “Closure,” though, is Confessions‘ true ballad, with what sound like soaring strings toward its conclusion.

The album itself concludes with “Halfway Down the Road,” a mid-tempo rocker featuring an old-school classic rock guitar solo; this final song itself is largely unlike the other tracks on the disc.

In all, Confessions is a daring departure for Sonic Syndicate. For the band’s longtime fans, if their musical tastes don’t span the musical spectrum, they may not be excited by the change (to put it lightly). Indeed, I expect the backlash to be brutal from some corners of the metal community, but for those whose fandom is not wedded to a specific genre or sub-genre, it’s an intriguing disc. I tip my hat to Sonic Syndicate for such bold experimentation, and I do have a couple favorite tracks on this album.

Live Shows

Sonic Syndicate’s upcoming live shows, as listed on their website, are tonight, November 19th at Majestic Music Club in Bratislava, Slovakia; tomorrow, November 20th at Simm City in Vienna, Austria; February 8th at Klubi in Tampere, Finland; February 9th at Lutakko in Jyvaskyla, Finland; and February 10th at Virgin Oil Co in Helsinki, Finland. Check the Sonic Syndicate website’s “Shows” page for further details and additional live dates as they’re added.

Album Review: The Lucky Losers – In Any Town

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The Lucky Losers

photo courtesy of Frank Roszak Promotions

The Lucky Losers – In Any Town

Album Review of The Lucky Losers: In Any Town

Cathy Lemons and Phil Berkowitz are the lead vocal pair of San Francisco’s The Lucky Losers, a place where the blues meet ’60s psychedelic organ rock while fronted by a cloud-pleasing vocal duo with chemistry and sometimes almost loungy banter. The band is rounded out by Marvin Greene on guitar, Chris Burns on keyboards, Tim Wagar on bass, and Robi Bean on drums.

The Lucky Losers - In Any Town

image courtesy of Frank Roszak Promotions

The Lucky Losers kick off In Any Town with “So High,” whose soaring blues vocals and organ are supplemented by Berkowitz’s harmonica-work and psychedelic lead guitar from one of the many guest musicians on the album, Kid Andersen.

Lemons opens the next song, “It Ain’t Enough,” with a sultry vocal that’ll bring to mind a hot summer day in New Orleans in a shady PI’s office, with the constant hum of the fan obscuring a troubled dame’s pleas for help solving a crime when the cops won’t help, even though she can only pay the investigator with her grandmother’s diamond necklace, and the gumshoe isn’t entirely sure she wasn’t behind the crime all along. Or something like that. And the song maintains that feeling through keyboards, harmonica, and guitar riffs that complement the vocals.

The duo introduces its interpersonal playfulness on “Jackson,” though the true showcase for their banter is “I Can’t Change Ya,” a tune which, itself, has frenetic energy.

The Lucky Losers

photo courtesy of Frank Roszak Promotions

Perhaps my favorite song on the album is “Blind Man in the Dark,” a peppy number that mixes Motown and blues along with almost Randy Newman-esque vocals.

“In Any Town” has the sparse, tumbleweed Western ghost town blues flavor, slow and soulful with Berkowitz’s harmonica riffs punctuating Lemons’ rich, lamenting vocals, complemented by meandering guitar.

And closing track “Small Town Talk” is a vocal duet that just seems like an album-ender, coolly and confidently winding down the record as if it’s playing the performers off of the stage at the end of a show.

Really, beginning to end, this is a solid disc; a collection like this will satisfy loyal fans while expanding these talented singers’ audience.

Looking Ahead

You can catch The Lucky Losers live tomorrow night, Friday, November 18th at The Carlos Club in San Carlos, CA. In December, they’ll also be at the Smoking Pig (with Kid Andersen) in Fremont, CA on Friday, December 2nd and at The Saloon in San Francisco, CA on Thursday, December 15th. To see more information on those dates, new dates as they’re added, and 2017 dates already scheduled in Berkeley, CA, Houston, TX, New Orleans, LA, Englewood, FL, and Vero Beach, FL, check the live show calendar on The Lucky Losers’ website.

Album Review: Adam Lee – Sincerely, Me

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Adam Lee

photo by Paul Andrews; photo courtesy of Adam Lee

Album Review of Adam Lee: Sincerely, Me

My first impression of Adam Lee is that of a rockabilly Chris Isaak with a little Billy Joe Armstrong-meets-Elvis Presley thrown in for good measure.

And that’s not a bad starting point. Adam’s voice is smooth yet has a rough edge that seems to suggest he’s always dangerously close to flying completely off the rails. He inhabits a raucous corner of the Americana genre. The former frontman of Kansas City’s Adam Lee & the Dead Horse Sound Company, Adam landed a 2015 Ameripolitan Award nomination in the Honky Tonk Group category. Sincerely, Me is his solo album debut.

Adam Lee - Sincerely, Me

image courtesy of Adam Lee

The song that most often pops into my head from this album is “What I Need,” a rattling, energetic, number replete with clever hooks that features ragtime-reminiscent piano… and whose closing lyrics were purloined for the album title.

Also particularly memorable is “Patrick” is an Irish-style folk song with the requisite odd storyline. “When She Danced,” on the other hand, is more like an Irish hymn, with the absolute flip side of what seems like perhaps the same vocal edge.

Adam’s Western-inspired “Misery” mixes a haunting twang with a slow build that never quite explodes, creating an enjoyably artistic tension.

Adam Lee

photo by Paul Andrews; photo courtesy of Adam Lee

Another favorite on this varied disc include the album-opener, not-as-hopeful-as-it-seems “Good Days,” which features the full emotional breadth of Adam’s rough voice and singing style, itself quite conspicuously unique; while the vocals are enunciated as if spoken, they’re simultaneously tunefully sung. And, as I mentioned earlier, smoothly rough and ragged. And the more piano-motored “Son of a Gun,” which uses horns and tempo changes to provide it with an oddly hypnotic energy.

Finally, worth noting, I do love some of the lyrics in “Stray Cat,” including gems like “I’ve found the less you say/The more interested they are/Yeah, a man who talks too much is a man who starves.”

In summary, this disc is a harshly pleasant, boisterous, rockabilly-infused alt-country disc with great depth and style. And Adam Lee provides the sort of memorable vocal that almost sounds as if he sings with an Elvis-inspired quivering lip. The dude’s got style.

Looking Ahead

Per the tour page on Adam’s website, he’ll be at the Bremen Cafe in Milwaukee, WI on Wednesday, November 16; at GLM Live in Lafayette, IN on Friday, November 18; and at the Six Strings Club in Bloomington, IL on Sunday, November 20th.

Album Review: Lee Delray – Brand New Man

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Lee Delray - Brand New Man

image courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Lee Delray: Brand New Man

NYC native Lee Delray wields a soulful voice and an even more soulful guitar approach. He unleashes his full blues rock onslaught on his latest effort, Brand New Man. He is also a very talented songwriter who is able to connect with audiences on a number of levels.

The album kicks off with a strong and spirited track, “Meet My Maker.” Delray lays down a steady I-IV-V pattern while stating his slide guitar prowess from the outset. This track establishes right away that this is, indeed, a young master at work. That is followed by a standard popularized by everyone from Albert King to Kenny Latimore called “I’ll Play the Blues for You.” This is smooth urban blues, with a jazzy feel and some nice conversational rap from the leader in the mid-section. Along these lines, Delray continues that rap/blues hybrid on “First-String Man.” His guitar establishes a Stevie Ray Vaughan-meets-Jimi Hendrix kind of vibe and pairs that with embellishments from the hip-hop team of Young Chizzy and Deejay NoGood. It’s an unlikely musical marriage, perhaps, but one that works and really pays off well.

Lee Delray

photo courtesy of Frank Roszak Promotions

Delray writes catchy hooks and really has a flair for melody and succinct thoughts and lyrics. This is most evident on the seemingly autobiographical “Blues Came Callin’.” He picks up the pace for the follow up “Love Line.” This is a funky number that features tasteful note choices delivered in a Carlos Santana/Coco Montoya manner. “Cookin’ in My Kitchen” is one of those typical love and suspicion kind of songs. It’s a shuffle, with a lot of attitude and spark. “Hollar” is just like the title sounds; blues with a raw exclamation point! It continues that rough and tumble shuffle style that really smokes. Delray unloads some wicked slide guitar work here, as well.

“Gotcha” follows and is pure Chicago-styled swing. Kudos go to the leader’s trusty rhythm section of bassist Scott Ward and drummer Ken Conklin, who really lay it down here. “Mine All Mine” is a very syncopated R&B-influenced track somewhat reminiscent of Robert Cray or Delbert McClinton; a strong funky underpinning that’s perfect for dancing or jamming. And that brings us to, not the least, but the last track, “Yesterday’s Tears.” This is a tune that could easily be a hit on country, pop or r&b charts. Mike “Sweetharp” Smith’s harmonica and Lenny Hayden’s acoustic guitar give this a very appealing back porch/Dobie Gray type feel.

Lee Delray is, simply, the complete package. He is extremely versatile, able to assess his audience and their needs. And he truly delivers, whether the song calls for rock, country, jazz, funk and, in the case of the aforementioned “First-String Man,” even hip-hop. He is an artist with a sense of adventure, yet he still has his finger on the pulse of appealing to his fan base. I’m sure he will generate a number of new fans too with his latest, Brand New Man.

Upcoming Live Gigs

Lee is scheduled to perform on December 9th at The Lakeside in Saylorsburg, PA; on January 28th at The Brown Pelican in New Bern, NC; on January 30th live on-air at the Raeford Morning Show in New Bern, NC; and at the All Day International Blues Challenge in Memphis, TN (January 31st through February 4th). Check his website for additional live dates as they are added.

Album Review: Mick Kolassa – Taylor Made Blues

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Mick Kolassa

photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Mick Kolassa: Taylor Made Blues (Swing Suit Records)

Mick Kolassa is a bluesman for all seasons. First of all, he’s got a voice chock full of character, able to hit the high notes when required or talk in a low conversational manner. He’s also an insightful songwriter, with a wry wit and sense of adventure. Examples of this can be found throughout, from the laid back acoustic feel of “Baby Face Louise” and “Taylor Made Blues” to the lighthearted “I’m Getting Late” and the funky socio-political “In the Day.”

Mick Kolassa - Taylor Made Blues

image courtesy of Frank Roszak Promotions

Joining Kolassa on guitars, song arrangements and co-production is Jeff Jensen. He adds a certain spark to the proceedings and gives everything a rich sheen and ambiance. While this is primarily an original record, Kolassa has selected three choice covers that fit in very nicely with the overall program. Graham Nash’s “Prison Song,” Townes VanZandt’s “Lungs” and Norman Whitfield and Barrett Strong’s “Can’t Get Next to You” are brilliant adaptations and each given a unique spin.

Perhaps one of the key things about Kolassa is his ability to straddle that line between adhering to his traditional Southern blues roots while dipping his toes in the pools of rock, New Orleans-style funk, gospel and folk, as well. And he does it all with authenticity and conviction that really draws the listener in.

Mick Kolassa

photo courtesy of Frank Roszak Promotions

In addition to Kolassa and Jensen, the album features contributions from a laundry list of first-call session players and vocalists spotlighted in the gracious and thoughtful track “Friends Like Mine.” Kolassa is a very special artist, indeed, and all proceeds from album sales go to The Blues Foundation’s HART Fund and Generation Blues programs.

Upcoming Live Gigs

Mick currently has four upcoming shows listed on his website. On Monday, November 14th, he’ll be at the Bluesberry Cafe in Clarksdale, Mississippi. On Sunday, November 20th and Sunday, December 4th, he’ll be at the Rum Boogie Cafe on Beale Street in Memphis. And on Friday, February 3rd, 2017, he’ll be at fuBAR, upstairs from Rum Boogie, in Memphis. Be sure to watch for additions to Mick’s schedule on the “events” page of his website.

 

Album Review: Reverend Freakchild – Illogical Optimism

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Reverend Freakchild

photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Reverend Freakchild: Illogical Optimism (Treated and Released Records)

This is the sixth album for this cosmic musical preacher and, perhaps, his most ambitious. It’s a three-disc set that is a quirky cross-section of some of the best psychedelic blues rock and acoustic country/folk this side of Detroit’s Howling Diablos or classic Country Joe and The Fish.

Reverend Freakchild - Illogical Optimism

image courtesy of Frank Roszak Promotions

You might say this is kind of a concept package in that each disc seems to have a central focus to it. Disc One is entitled “Odds, Ends and Other Amazingness” and is probably a pretty comprehensive representation of what Reverend Freakchild is all about. He does everything from John Lennon’s “Imagine” and Bob Dylan’s “All Along The Watchtower” to full-on gospel, with “I Still Have Joy” and “Cryin’ Holy Unto the Lord.” There are also more traditional slide guitar anthems too like “Shark Boogie” and “Yer Blues.” But one would be advised to use that term “traditional” rather cautiously when referencing the good reverend, as nothing he does is by rote. He’s got a keen ear for nuance and humor and can change up a familiar song arrangement and give it a whole new character and spin.

Reverend Freakchild

photo courtesy of Frank Roszak Promotions

Disc Two gets a little weirder and basically features a dozen variations on his song “All I Got is Now.” Each track renames the song a little bit and, with that, each is a different version, from funk to punk to reggae to acoustic. There are even versions sung in German and French. Remember when various ‘60s bands like The Beatles would do alternate takes of their hits in different languages in addition to English? But I digress! This is an intriguing concept, but a tad self indulgent at the same time. But then, maybe that’s the point!

Disc Three presents something that kind of references Disc One. It is called “Kairos” and is the works of an artist — apparently one that Reverend Freakchild admires —named Ramblin’ Jennings. There are eight songs here that can best be described by what appears on the CD itself: “It’s gospel blues, with declamatory vocals, wailing blues harmonica and slide boogie guitar.” It appears that Freakchild is a bit of a talent scout here and presents to the world an artist very much in his own likeness.

To be fair, it’s really hard to put a finger on what Reverend Freakchild does. He can play a mean Dobro, electric and acoustic guitar for sure and has a soulful voice to back it up. And his original writing and selection of material is interesting and progressive in a curious sort of way. He certainly does not fit the mold of a “traditional” bluesman (there’s that word again!), but it’s obvious he wouldn’t have it any other way.

EP Review: Cody Webb – Cody Webb

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Cody Webb

photo courtesy of Miles High Productions

Cody Webb – Cody Webb

EP Review of Cody Webb: Cody Webb

Cody Webb EP cover

artwork courtesy of Miles High Productions

The voice, the song style, the delivery… Cody Webb sounds like the new breed of country stars. His vocal style is right in line with Florida Georgia Line on some tunes, perhaps a hint of Jason Aldean-meets-Luke Bryan on others.

The EP opens with a trickling guitar hook and a musical build-up that captures the listener’s attention, a very promising introduction to “More Than a Little.” This song shows off the way Cody blends his ability to hit tuneful notes with his authentic twang. It proceeds at a mid-tempo pace with a steady, very-country-music rhythm.

Cody Webb

photo courtesy of Miles High Productions

“She Ain’t Right” and “My My My Girl” are the tunes that most seem like they could be Florida Georgia Line hits. The vocal twang is cranked up a bit here – Cody’s use of “cain’t” in “She Ain’t Right” is about as country as it gets – and there’s a bit of a funky vocal rhythm in spots. As you can tell just from the title, “She Ain’t Right” is sung with a bit of a smirk and a sense of fun; this’ll be a radio or concert favorite. “My My My Girl,” meanwhile, is a good ol’ laid-back new-style country tune.

“Love Me Like I’m Gone” adds a little twang while also hitting Cody’s mid-tempo, pulsing rhythm-driven country sweet spot.

He then slows it down, putting the full depth and warmth of his voice into a corny, heartstring-tugging ballad, “Nothin’ On You.”

Cody Webb

photo courtesy of Miles High Productions

Of course, Cody returns to his trademark medium-speed bailiwick with “Better At Night,” a good-time party song the closes his eponymous EP with a smile.

Looking Ahead

There are several upcoming tour dates listed on Cody’s website. On November 11th, he’ll be at the Wild Wing Cafe in Charlotte, NC. On November 12th, he’ll be at the Wild Wing Cafe in Greenville, SC. On November 16th, he’ll be at The Country in Nashville, TN. And on November 23rd, he’ll be at the Country Club Dance Hall and Saloon in Augusta, GA. Cody heads out to California in December. His December 7th gig in at The Saddle Rack in Fremont, CA is followed by two San Diego gigs – December 9th at Moonshine Beach and December 10th at Moonshine Flatts. Check out Cody’s website for already-scheduled 2017 shows and for more gigs to be added.

Album Review: Gonzalo Bergara – Zalo’s Blues

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Gonzalo Bergara

photo courtesy of Frank Roszak Promotions

Gonzalo Bergara – Zalo’s Blues

Album Review of Gonzalo Bergara: Zalo’s Blues

Gypsy jazz guitarist Gonzalo Bergara‘s new album, Zalo’s Blues, showcases a variety of musical influences, all centered around the blues. This isn’t a typical blues album. No, it’s Zalo’s Blues. It walks the fine line between blues-based rock and rockin’ blues. With other influences, most obviously the occasional jazz infusion. Of course, if Gonzalo’s bio hadn’t mentioned his gypsy jazz pedigree, I’d’ve dubbed him a blues-rock guitar wizard with broad-based influences.

Gonzalo is joined on this disc by Mariano D’Andrea (bass) and Maximiliano Bergara (drums), except for one track, “Woosh,” on which he’s joined by bassist Vince Bilbro and drummer Michael Partlow.

Gonzalo Bergara - Zalo's Blues

image courtesy of Frank Roszak Promotions

Gonzalo shows off his guitar virtuosity right from the start, kicking things off with “Drawback,” a fun, energetic, jazzy blues instrumental. One of a few instrumentals on the disc, all great fun because an adept axemaster doesn’t always need vocals to engage the listener.  Another instrumental, for example, “Ines” is a soulfully blue, close-your-eyes-and-soak-it-in piece. “Dirty Socks,” meanwhile, is a funky, rather syncopated blues dish. And “Been Runnin'” is a fast-paced guitar-pickin’ number with just a hint of a carnival fun house vibe. Variety. Even on the instrumentals, this disc has variety.

But most of the songs carry lyrics. One of my favorites is “Woosh,” in part because it could almost pass for a hard rock number.

“Singing My Song,” meanwhile, is a slow-paced blues song with a bit of a ’70s or ’80s rock edge to its guitar work, particularly in its extensive, amazing solos, as if it might be the closest-to-true-blues song on a blues-based hard rocker’s disc. And the axework? It’d make Jimi Hendrix proud. I love when artists mix in different influences.

“Gonna Go,” for example, embarks on a fast-pickin’, almost rockabilly-infused breakneck pace, leaving the listener engaged and exhausted by the song’s end. “Drinking” employs a Chuck Berry-esque guitar riff to provide an old-school blues based rock ‘n roll number. And the one cover song on this disc, Jimmy Reed’s “You Don’t Have to Go,” sounds exactly like George Thorogood jamming with the London Quireboys in a seedy blues joint.

Gonzalo Bergara

photo courtesy of Frank Roszak Promotions

This collection is an enjoyable, ebbing-and-flowing rock-influenced journey, though it doesn’t entirely sit on the rock-blues border, as it explores various corners of the blues, showcasing how it can transform other genres’ influences into a complete, cohesive blues-based package. As such, the album settles down at the end, with “Won’t Stay With You” serving as a slow, bluesy vaudeville tap-dance off stage.

I’d think guitarists are going to love Zalo’s Blues, while blues fans, blues-rock fans, and anyone who enjoys talented musicianship will get a kick out of it, as well. To top it off, with such varied offerings, there will be plenty of disagreement over which songs are the best.

 

Album Review: DiMino – Old Habits Die Hard

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DiMino

photo courtesy of Head First Entertainment

DiMino – Old Habits Die Hard

Album Review of DiMino: Old Habits Die Hard

DiMino - Old Habits Die Hard

image courtesy of Head First Entertainment

Frank DiMino was the frontman for 1970s rock band Angel. Frank has recorded with a laundry list of top-shelf performers – and led a late ’90s Angel reincarnation – since then and contributed to several television shows and movies, even receiving a platinum record for his contribution to Flashdance. But Old Habits Die Hard, released on Frontiers Records in 2015, is his first solo record.

You can hear the ‘70s influences in the ‘80s bands DiMino’s record reminds me of… or perhaps it’s more of a ’70s re-influence as DiMino kept current.

Frank DiMino

photo courtesy of Head First Entertainment

The disc opens with “Never Again,” a full-tilt, blues-based metal rocker that has a bit of Kix in it; “Never Again” was released as the album’s second single this past summer.

“Rockin’ in the City,” probably my favorite track on the disc, deploys a Dio-esque tempo and vocal approach mixed with ‘80s glam-metal screams. Stylistically bit like Turbo-era Judas Priest, this was the album’s first single.

Frank DiMino

photo courtesy of Head First Entertainment

The rest of the disc continues to produce old-school hard rock at its best. “Even Now” is a soaring, Steve Perry-reminiscent vocal, slower-tempo power rock tune. DiMino delivers Shout at the Devil-era Motley Crue meets Legs Diamond on “Mad As Hell.” “I Can’t Stop Loving You” recalls House of Lords. “Tears Will Fall” is like “Headhunter”-era Krokus with a Metallica tempo. And there’s even a little Dio in DiMino’s howl during “Sweet Sensation,” though the song itself seems like it would most likely be found on a Fastway album. If any of that sounds like your kind of music, then DiMino’s Old Habits Die Hard will be your kind of album.

No one rocks like a classic rocker who has kept at the top of his game, and this album proves DiMino hasn’t lost a step.

Looking Ahead

The “live shows” page of Frank DiMino’s website lists one upcoming gig, a show tomorrow night, Friday, October 21st, at the Whisky A Go-Go in West Hollywood, CA.