Album Review: Weezer – Black Album (Atlantic Records/Crush Music)

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By: Jesse Striewski

Alas, I was finally able to dedicate some time to the much-talked about Black Album from everybody’s favorite nerd-rockers Weezer. And you know what? It not only surpasses their last effort, but also manages to be one of those rare albums where you literally cannot wait to hear if the next track will be as good as the last.

Just one month after releasing a completely admirable covers album, they manage to arrange a decent amount of irresistibly catchy tracks. Although the video for first single “High as a Kite” is without a doubt fun (complete with the band performing on a Mr. Rodgers-inspired TV set), the song itself doesn’t even do fair justice representing the Black Album as a whole. Sure there’s a couple of tracks that don’t quite hit the mark as effectively as others, but some of the best songs the band has actually penned in years can be found here, including “Living in LA,” “Zombie Bastards,” “I’m Just Being Honest,” and “California Snow.”

If you’re one of those ignorant stooges who still think they’re “too cool” to listen to Weezer, just shut up and open your mind already.

Rating: 4 Stars

Album Review: Overkill – The Wings of War (Nuclear Blast Records)

Overkill

By: Jesse Striewski

Those old Jersey boys Overkill are back for another round of thrash metal anthems fit for blasting on your home stereo (or simply, on your way “down the shore”). And while it’s no easy task for a band to keep it ‘fresh’ nineteen albums into their career, the subject matter alone found on The Wings of War is worth giving it a listen at the very least.

At first, I wasn’t all that impressed by my initial introduction to the album (“Head of a Pin”); but after finally sitting down and giving things an honest listen, it started to slowly grow on me. And once I heard and saw the video for “Welcome to the Garden State,” it was officially all over from there! Aside from their homage to Jersey, there’s plenty of other hard-hitting numbers (“Where Few Dare to Walk,” “Last Man Standing”) that should get more than one head banging.

I’ve never claimed Overkill was my favorite band to ever emerge from New Jersey, but their epic new ode to my beloved home state helped bump them up a notch in my book for sure.

Rating: 3/5 Stars

Queensryche and Fates Warning at The Plaza Live on 3/2/19 By Jesse Striewski/Photos By Brooke Striewski

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Unlike other bands from their era simply running off nostalgia (Ratt, Quiet Riot, etc…), bands like Queensryche are still releasing more-than-respectful material, and not relying solely on their past. And while they may still be largely ignored by modern radio these days, bands from said era such as them (along with Iron Maiden and Megadeth, among others), are still just as strong as ever. After catching them live this past weekend for the second time, there’s no denying these bands are still able to pack a house.

Fates Warning have always been somewhat of interest to me, especially since Armored Saint/ex-Anthrax bassist Joey Vera first came aboard. And with a solid lineup that also includes original guitarist Jim Matheos, joined with other longtime members Frank Aresti (guitars) Ray Adler (vocals), and current Sebastian Bach drummer Bobby Jarzombek, I was looking forward to actually seeing what they could do on stage when they opened the first night of this current tour. But for the most part, they focused a tad too heavily on their (not so) new album, 2016’s Theories of Flight, performing “From the Rooftops,” “Seven Stars,” and “The Light and Shade of Things.” The furthest the band even went in their own catalog was “Life in Still Water” from 1991. While it’s understandable they had limited time to work with (only able to squeeze in eight tracks) this is one case where it would have been nice if they dug just a little further back in time (at the very least 1988’s “Silent Cries” should have still found its way in the set list somewhere).

And finally, Queensryche took over. The last time my wife/photographer and I saw them live, they were still touring for their first album with current vocalist Todd La Torre in 2013. Since then, the band has released a couple of more albums, and were not swayed from playing material from any of them (despite knowing many likely still come to hear their Geoff Tate-era hits). One thing’s for sure, their stage/light show has definitely improved over time. However, it was somewhat disappointing to see original drummer Scott Rockenfield was not on board this time around, though Kamelot’s Casey Grillo filled in just fine.

Opening with “Blood of Levant,” the band continued with mostly newer tracks such as “I am I,” “Man the Machine,” and “Condition Human,”  but managed to throw one from their debut album, “N M 156” in there before finally breaking out with one of their signature “classics” (“Queen of the Reich”) six tracks in. “Selfish Lives,” “Open Road,” “Light-Years,” and “Eyes of the Stranger” all followed before the band took a quick reprieve.

It didn’t take long for the band to come back with a trio of their most well-known hits for their encore, including their biggest (and in my book, extremely overrated) power ballad “Silent Lucidity,” as well as “Jet City Woman,” and finally “Empire.” I say it all of the time; if ever you doubt the ability of a band that’s been around as long as Queensryche, wait to see them live before judging. These guys have been going strong since 1980, and it’s clear they don’t show any signs of slowing down anytime soon.

Fates Warning opening the show.

Interview with Last in Line Bassist Phil Soussan By Jesse Striewski

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You’ve seen him onstage with such rock giants as Ozzy Osbourne and Billy Idol. Now, legendary bassist Phil Soussan has stepped in the shoes for the late Jimmy Bain (R.I.P.) in Last in Line – the band made up of former Dio bandmates that originally included Bain, guitarist Vivian Campbell, drummer Vinnie Appice, and newcomer Andrew Freeman on vocals.

Last week, the band dropped their second studio album (and first with Soussan on board) simply titled II. Just days before its release I was able to speak with the ever-so-gracious Soussan over the phone about the new album, as well as taking over for the previously-mentioned Bain shortly after the band’s first album, which he says; “Well, I never really considered myself ‘taking over’ for Jimmy when I came in. It just seemed like the right thing to do for him, to at least perform that album, because he worked really hard on it, and I know it meant a lot to him. Jimmy was also a friend of mine that I knew for a very long time. We were all counterparts in our respective bands, cut from the same cloth. So I felt privileged to be able to get out there and honor him by playing those songs and bringing them to the fans. That was something I could do for my friend.”

Knowing Soussan is no stranger to songwriting himself (perhaps his best known writing credit is co-composing Ozzy’s 1986 hit “Shot in the Dark”), I inquired how the songwriting for II went, which he explained; “We wrote songs in what’s considered today to be a very unconventional way…together (Laughs). These days everybody has their own studio next to their coffee machines, but we did it collectively, as a unit. All of the songs were written equally between the four of us, which is why there’s no individual songwriting credits, and that’s how things really should be done.”

I also asked him how the new material has been going over so far live, to which he says; “Well, when you have bands together that have been established over many years (I like to call them “heritage bands”), a lot of the time you do have people that go to their shows just to hear the hits that they’ve grown to love, and the band doesn’t really get a fair crack at the whip when it comes to new material. Usually when the band says, ‘here’s a new song,’ everybody heads to the bathroom. But in our case, we’ve been very fortunate that the fans have wanted to hear new material, and we don’t take that lightly or for granted at all, and it’s probably the reason we’re still doing what we’re doing.”

He goes on to elaborate, “I’ve done a lot of records, and by the time you’re finished recording one, the last thing you wanna do is listen to it again. But every time I listen to this one, I hear something new I rediscover, and for that reason I have an element of confidence in it, and hopefully I’m right (Laughs)!”

Aside from music, Soussan, has also tried his hand at cooking over the years, having even owned his own restaurant in the past. I asked how he got involved with local Central, FL rocker Kenny Wilkerson’s upcoming cookbook “Rockin’ Recipes for Autism,” and he says; “Ken had basically contacted me asking if I would be interested in submitting something. I thought it was for a great cause, and cooking is something that is very near and dear to me, so it was something I jumped on right away.”

Unfortunately there are no Florida dates for Last in Line at the time of this writing, though those in other parts of the world will have a chance to catch the band in the very near future. Soussan informs me, “We’re very excited to have just gotten announced on the Download Festival in Britain this June. Vivian’s going to be doing double-duty that day, headlining with Def Leppard. The last time I played there was in 1986 (when it was still known as “Monsters of Rock) when Ozzy headlined, and the band opening for us at the time was Def Leppard, so it’s funny how life kinda flip things around on you sometimes!”

 

Album Review: Weezer – Teal Album (Atlantic Records/Crush Music)

Weezer

By: Jesse Striewski

If ever there was a band that can do whatever it wants artistically, it’s Weezer (fair assessment considering this is technically their fifth self-titled album). Their climb back to the top of the rock charts since reforming in the early 00’s has been nothing short of monumental, and they decided to pay homage to some of their early influences with this latest effort (or perhaps just have a good time with it).

There’s plenty for old school fans to enjoy here; their covers of such ’80s anthems as “Everybody Wants to Rule the World,” “Sweet Dreams (Are Made of This),” and “Africa” are all fairly spot on (though the latter has been a tad overplayed already by radio). And the video for their cover of A-Ha’s “Take on Me,” featuring Stranger Things actor Finn Wolfhard and his band Calpurnia, is simply irresistible. They even dare to take a shot at the King of Pop’s “Billie Jean,” which surprisingly works.

There is a questionable moment or two, though; Their rendition of TLC’s “No Scrubs” is just a tad out of place. But overall, Weezer does most tracks here justice, putting their own spin on each song the only way they know how. My only hope is this album gets a proper release on either vinyl and/or cassette, which is what it truly deserves to be listened to on.

Rating: 3.5 Stars

Interview with Vocalist Tony Harnell By Jesse Striewski

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Tony Harnell may not be as big of a household name as fellow rock frontmen like Ozzy Osbourne or Axl Rose, but he has no doubt earned his own rightful place among the best of them. In the mid-80’s, Tony began his on-again-off-again relationship with Norwegian headbangers TNT (with whom he recently severed ties with again in 2017).  Fans may also remember he briefly fronted New Jersey hard rockers Skid Row for some time in 2015 as well.

But Tony has also  built a large portfolio of solo work and side projects from over the years too, including Starbreaker, a project he started alongside Primal Fear guitarist Magnus Karlsson in the mid-2000’s that was recently resurrected for  a brand new album, Dysphoria. Last week, I had the pleasure to speak with Tony via telephone regarding his current, past, and even future projects.

When I spoke to Tony last Wednesday afternoon, he had just gotten back from playing some shows in Europe and was battling a cold he caught while there. Still, he describes the trip as “amazing,” having just played a rock cruise with fellows icons such as Joe Lynn Turner and Michael Monroe.

When asked how he felt the reception has been so far for Dysphoria, Tony tells me, “The initial response has been overwhelmingly positive, which is always really great. ” I also asked if one could say there was a running theme throughout the album, for which he tells me, “Yeah, it occurred to me there was to a degree. When I write songs I just write what I’m feeling on any given day, and the emotion of that moment is what comes through in the lyrics. It definitely has a strong theme to it, and I like to kind of leave that open to interpretation. I think the record has got this beautifully sad quality to it. It’s definitely not a downer record by any means, but I think it has a theme on it that a lot of people can relate to. It does focus heavily on things that were going on for me at the time, and those things are definitely there and can’t be denied.”

I asked Tony if Starbreaker would become his main focus now that he’s no longer with TNT, to which he responded;”Outside of the fact that I still want to put out solo stuff and tour for that, I’d have to say “yes.” At this point Starbreaker’s what I’d call an important project to me for sure though. I would love it to become a full-on band, because I do think the demand is there for us to play shows, and I can see us performing maybe twenty, thirty shows a year, so we’ll have to see. But this record was really important to me because I haven’t released any new material in over 6 years (which is the longest I’ve gone without releasing new music), since I put out the acoustic EP I did with Bumblefoot from Guns N’ Roses called Tony Harnell and the Wildflowers. I guess in some ways you can say Dysphoria’s – and I hate to use this word – a comeback album, at least recording-wise, since I’ve still been touring a lot.”

I also wanted to known how he felt regarding his tenure with Skid Row in hindsight; “I think I would take my time more to just absorb what it was first, and I think I’m in very different, much healthier place in my life now than when I went into the Skid Row situation. So I think I would make better decisions from beginning to end if that type of situation were to present itself again.”

Aside from the new Starbreaker album, Tony tells me there’s a few more things to come in the near future; “TNT has a new DVD coming out in March which will be the last thing with me on it, which was filmed in Italy in 2017. But more than anything I’m focused on making new music right now, and getting out and playing shows.” Be sure to follow Tony on social media to find when and where he may be coming to a city near you (you do NOT want to miss the chance to catch him live!).

-J.S.

Interview with Stabbing Westward Keyboardist Walter Flakus By Jesse Striewski/Photo By Brooke Striewski

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It’s been over a decade since the last time the guys in Stabbing Westward passed through Central, FL. But next month, the band will be hitting the stage at the House of Blues in Orlando on February 17 for the first time since disbanding in 2002.

I had a chance to chat with keyboardist and founding member Walter Flakus recently, who elaborated with me regarding the long gap; “Now that I think about it, we haven’t played a show in Florida since 2001! The closest would’ve been when (Stabbing Westward side project) The Dreaming played Sanford in 2015.”

Flakus went on to tell me more about Stabbing Westward’s recent reformation; “It really goes back to when (lead vocalist) Christopher (Hall) and I rekindled our friendship in 2014 when his father passed away. We started trading musical ideas, which led to me joining The Dreaming and contributing to the Rise Again album. While touring on that record, Marcus came out to play some SW songs at the Chicago (the band’s hometown) show. It really felt great being on the stage together again. In 2016, Jason and Kelly Novak floated the idea of SW playing the pre-party for the Coldwaves festival in Chicago, and we thought, ‘Let’s see if anyone still cares.’ The show sold out in 3 minutes, and it just kept building from there.”

I also asked why former bassist Jim Sellers has been noticeably absent for the entirety of the reunion, for which he tells me; Christopher and I talked to Jim about playing some SW shows before the Coldwaves show was proposed. I think he has a lot of projects that he’s working on, and playing shows didn’t really fit. So we turned to Carlton (Bost), who plays guitar in The Dreaming, as well as Orgy. He’s been a great fit.”

Flakus also assures me fans can expect to hear a wide range of songs these days in their set lists; “Of course there’s certain songs which have to be included because they were singles or fan favorites. Recently we’ve been playing most of Darkest Days in order, which has been really great. We’re constantly working up new things to add to the set. This year is the 25th anniversary of Ungod, so we may spend some time focusing on that later this year.” He also tells me new material is not too far off; “We have a bunch of songs we’re currently working on. Hopefully we’ll get something out later this year.”

Be sure not to miss the chance to catch Stabbing Westward at their Orlando show next month…it’s sure to be worth the wait!

Album Review: Quiet Riot – One Night in Milan (Frontiers Music Srl)

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By: Jesse Striewski

Oh, Quiet Riot. At one time you were such a force to be reckoned with in the metal world. Unfortunately now they’re a mere shell of what they used to be (though I suppose some credit should be given for still trying).

One Night in Milan sounds good on paper, with fifthteen of the band’s classics mixed with more current tracks. But upon closer inspection, there’s undeniable flaws that are hard to overlook. There’s noticeable mistakes all across the board, with the drums often out of synch with the rest of the band (see “Slick Black Cadillac,” it’s almost impossible not to catch), the guitars sound way too distorted, and the poor production value makes classics like “Cum on Feel the Noize” and “Metal Health (Bang Your Head)” come off as anything but stellar performances.

There are actually some salvageable moments, though. An amped-up version of the lesser-known hit “The Wild & the Young” works surprisingly well, and the balled “Thunderbird” is a fairly faithful rendition. Still, perhaps it would have been wise to wait for something of better quality instead of rushing to release this…I highly doubt many people are going to notice its existence one way or the other.

Rating: 2/5 Stars

Album Review: Jetboy – Born to Fly (Frontiers Music Srl)

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By: Jesse Striewski

Remember Jetboy, that promising hard rock band who had several tracks from their 1988 debut album “Feel the Shake” featured in such classic ’80s flicks as The ‘Burbs and She’s Out of Control? Well believe it or not they’re back, and the results are definitely far from perfect, though somewhat admirable.

Along the way, there’s a few inspired moments found on this latest release  (“Everytime I Go” and “The Way That You Move Me” both come to mind). But the majority of what’s left comes off as a band trying to recapture what once was there (the track “Inspiration From Desperation” seems to say it all). If only these guys hadn’t dropped off the face of the Earth for some time, who knows what they might have achieved?

Rating: 2.5 Stars

Album Review: Starbreaker – Dysphoria (Frontiers Music srl)

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By: Jesse Striewski

At first glance, Starbreaker seems like just another side project/supergroup (in this case featuring former TNT/Skid Row vocalist Tony Harnell and Primal Fear guitarist Magnus Karlsson) that are sure to be forgotten as fast as they came. But here’s the thing; this actually works.

I was immediately impressed upon first listen by just how well-put together this third effort from the band was (their first in over a decade). From power ballads like “How Many More Goodbyes,” to epic-sized tracks reminiscent of Queensryche such as “Pure Evil,” “Fire Away,” and my personal favorite, “Bright Star Blind Me.” Sure it’s unlikely Dysphoria will break a whole lot of new ground. But as the old saying goes, don’t judge a book by it’s cover; this one’s worth opening at least once.

Rating: 3/5 Stars