I won’t get into an introduction about Joe Perry here because if you don’t know who Joe Perry is you probably have lived on the moon for the last century or something. However, Perry’s solo career might have passed some people by as those records haven’t exactly sold millions and trillions and whatnot. Perry’s solo career started when he left Aerosmith back in 1980 and he released three albums under the Joe Perry Project moniker – Let The Music Do The Talkin’ (1980), I’ve Got The Rock ‘n’ Rolls Again (1981) and Once A Rocker, Always A Rocker (1983) before he rejoined Aerosmith for their 1985 album Done With Mirrors. Since Aerosmith haven’t been especially creative when it comes to releasing new music in later years, Perry have decided to be creative on his own instead and released records under his own name. Joe Perry (2005), Have Guitar, Will Travel (2009) and Joe Perry’s Merry Christmas (2014) didn’t exactly set the world on fire but at least they had him working both in the studio and on stage when his day job have been on hiatus. And now there’s a new record out by the legendary guitar player.
Right before Rick Springfield’s last album Rocket Science was released the word got out that Springfield was about to release a country album. A country album! I was worried plenty because even though I don’t have anything against mixing up rock music with a bit of country, plain country music really isn’t my keg of beer, so to speak. Well, it turned out that the whole country thing was a bit exaggerated. Sure, there were country vibes all over that album but for the most I think that album had all the right ingredients a Rick Springfield album should have – rock, pop, AOR, west-coast but with country influences here and there. And there was no need to worry – that album was awesome and I see it as a true Springfield record. For his new effort it was time for another change. This time Springfield is about to release a blues record. A blues record!
For the last ten years or so, Dan Reed has been like an old friend, a neighbour or something like that, at least for us Swedes. For a guy that spent most of the 90’s and a great deal of the 2000’s in more or less oblivion, the guy have turned up very frequently since 2008, especially here in Sweden and after his solo debut, the brilliant Coming Up For Air (2009) his visits became even more frequent. That said, you can probably guess how much we see of him now that he have resurrected his Dan Reed Network as well. Not that I’m complaining, Dan Reed is a brilliant performer be it alone with an acoustic guitar or when he slams things up with his buddies in the Network. Dan Reed Network’s reunion album Fight Another Day (2016) got some mixed reviews but in my book, the record is a grower and I think it’s an awesome record.
Solo artists with blues rock as their speciality aren’t usually my keg of beer. Sure, I can appreciate the odd song here and there by newer artists such as Kenny Wayne Shepherd, Joe Bonamassa and old school dudes like Eric Clapton and Stevie Ray Vaughn – and I simply adore Eric Sardinas – but usually I just let all these artists pass me by if no one throws them at me. Swedish rocker Patrik Jansson – also a drummer in southern rockers Hellsingland Underground and melodic rockers Laney’s Legion – released his second solo album Here We Are back in 2015, this time as a guitarist and singer, and since I really like his other bands I had to check it out. Turned out that Jansson had a really big feel for playing the blues and even though his English comes with a Swedish accent, his voice was really damn fit for this kind of rock and lo and behold, I dug it – a lot. So when the time had come for a follow-up, there was no chance in Hell I’d miss out on that.
The year was 1989. On one side, bad-assed angry young men were kicking and screaming with fierce hearts and shitloads of testosterone, piss n’ vinegar – Metallica, Slayer, Testament and Megadeth thrashed things around like there was no tomorrow. On the other side we had the Sunset Strip where melodic rock, AOR, glam and sleaze bands such as Mötley Crüe, Skid Row, Bon Jovi, Poison and Winger were selling gazillion of records. And then there were the guys in the middle, bands that were too out there for the main stream audience having a hard time. And of course, we had a now glorified yet underground debut record by the Riverdogs.
I guess for many rockers out there – especially rockers outside of Sweden – the name Bo Stagman might not ring that many bells. But if I write Zinny Zan instead, said bells might just toll. For those with quiet bells, Bo Stagman is the birth name of Zinny Zan, the singing glam rocker that once started the band Easy Action in 1983 with the now ex- Europe gun slinger Kee Marcello and who later joined Kingpin, the band that became Shotgun Messiah that sold half a million copies of their 1989 self titled debut album in the U.S. alone. After leaving / got sacked from the band, he went home to his native Sweden and formed Grand Slam (who had Jacob Samuel, the lead singer from The Poodles on drums) that didn’t work, formed his own band Zan Clan whose debut album Citizen Of Wasteland (1994) blew dog – and therefore didn’t sell that many copies. Zinny split the band and recorded a criminally underrated (and very hard to get) solo album, City Boy Blues in 2002 only to resurrect Zan Clan two years later, now together with guitarist and producer Chris Laney (Pretty Maids, Shotgun, Laney’s Legion, Randy Piper’s Animal), guitarist Pontus Norgren (Hammerfall, The Poodles, Great King Rat, Talisman) (later replaced by Love Magnusson of Dynazty), bass player Pontus Egberg (Treat, King Diamond, The Poodles, Lion’s Share) (later replaced by Nalley Påhlsson of Royal Mess, Therion, Last Autumn’s Dream, Treat, Randy Piper’s Animal) and drummer J. Koleberg (Hammerfall, Therion, Randy Piper’s Animal) and they released the brilliant We Are Zan Clan, Who The F**k Are You? (2004) and the live album Kickz The Livin Shit Outta Stockholm City (2006).
The fact that The Quireboys are still alive and kicking and have been so for that last 10 years or so is probably to every rocker’s knowledge these days, but are there anyone out there besides me that have been wondering what the hell happened to lead singer Spike’s song-writing partner and guitarist Guy Bailey? I mean, it was him and Spike that wrote all the classic hits that made The Quireboys’ debut album A Bit Of What You Fancy (1990) such a brilliant album and such a success and he was also part of The Quireboys second album, the underrated but by Bob Rock overproduced Bitter Sweet And Twisted (1993). Not to bash The Quireboys of 2016, I mean they are still an amazing live act and they have released some damn fine records, but I think it’s safe to say that most fans still hold their two first albums as their finest. Well, me personally, I have always hoped that Bailey one day would return to Spike’s side and write some more killer songs with him. I have definitely wondered where the hell Bailey went and why we haven’t heard from the guy. So imagine my surprise when I was about to listen to an album by a band called Thirsty (a really weird name for a band, I thought to myself) that had ended up in my mailbox and the press release told me that it was the new album by Bailey’s new outfit. All of a sudden, the album became very interesting.
A new Bon Jovi release used be like Christmas for me. I became a fan when a Swedish radio station played their first (hit) single “Runaway” just when their self titled debut album was about to be released in 1984. It knocked me out completely and I bought that album the day it was released and to this day I find their first five albums – Bon Jovi (1984), 7800 Fahrenheit (1985), Slippery When Wet (1986), New Jersey (1988) and Keep The Faith (1992) – amazingly good. Things started to slip with their 1995 album These Days, by no means a bad album, but it was only 60% great, leaving the rest of the 40% jumping between crap to mediocre. After that album, Bon Jovi has never really been themselves again. Crush (2000) only had three great tracks, Bounce (2002) had even less and Have A Nice Day (2005) didn’t have one single stand-out track. But the big crash landing happened with the horrendous wanna-be country piece of junk album called Lost Highway (2007). On their earlier few records there were at least some traces of the band I had loved so dearly, but on that album every little trace of the classic Bon Jovi sound had been forlorn. That record is one of the worst cases of a great band going down the sewer I have ever heard in my life. After that, things didn’t get better, they only got less worse. The Circle (2009) was Bon Jovi trying to find some rock again, but they failed miserably. It was the same mainstream boring pop songs with the guitars a bit louder in the mix, nothing else. And Jon Bon Jovi’s words about the band having made a big arena rock album again with 2013’s What About Now were either lies or a bad case of disillusion.
After Meat Loaf’s two latest catastrophic albums Hang Cool Teddy Bear (2010) and Hell In A Handbasket (2011) combined with my memories of his almost as catastrophic performance at Sweden Rock Festival in 2007, I had no expectations what so ever that his new album – his first in five years – would be anything to write home about. The only small ray of I hope I had for this album to turn out at least decent was that he, once again, had teamed up with his old song writer Jim Steinman, the guy who wrote Meat’s two classic albums Bat Out Of Hell (1977) and Dead Ringer (1981). However, those two albums were produced by Todd Rundgren and this one isn’t, it’s produced by one Paul Crook, Meat’s guitar player (also earlier with Anthrax and Sebastian Bach) who was also responsible for the production on Meat Loaf’s last album, something that didn’t bode well for this one. Don’t get me wrong, I really dig some of Meat Loaf’s earlier albums, Bat Out Of Hell and Dead Ringer are both classics for a reason, brilliant albums both of them. I’m also a huge fan of the Mack produced Bad Attitude (1984), Welcome To The Neighbourhood (1995) and Couldn’t Have Said It Better (2003), three albums that just screams out classic Meat Loaf even though neither Steinman or Rundgren being involved. Also, the two Bat Out Of Hell sequels, II: Back Into Hell (1993) and III: The Monster Is Loose (2006) have both been criticized pretty heavily, something I feel is unfair as I think both of them, especially the second one, are really good records. But Meat Loaf is also responsible for a couple of real musical belly flops – other than his two latest ones, that is. Midnight At The Lost And Found (1983) and Blind Before I Stop (1986) are both horrible pieces of crap that should never have been allowed to see the light of day – or any other time of the day. That means that Meat Loaf’s career has been a roller coaster quality and sales wise so you’ll never know whether he’ll come up with a killer or a stinker every time a new record is released. At 69 years old, Marvin (now changed to Michael) Lee Aday, releases a new album that is rumoured to be his last before retiring so even if my expectations were low, I was still hoping that if this actually is his last record, he would go out with a bang.
One thing that I like with the name Apollo Under Fire is that it is impossible to label, with a name like that you could be in any genre from pop to heavy metal. Already by the name, I was intrigued to find out what the band was all about. The embryo of the band was set in 2013 when lead vocalist David Carpenter (SumerseD, Eye Empire) and Candlebox guitarist Peter Klett met at a benefit concert for the Johnny Damon Foundation. In 2014 the couple met drummer Tom Costanza, a self-taught drummer whose dad was a drummer in the New York jazz scene. In the fall of 2014 the three-piece had the songs to record an album and with some outside bass playing help from Klett’s Candlebox buddy demos were recorded, but the search for a permanent bassist had to begin. They soon found a guy named Stu Cox who fitted the band’s musical vision and the band was completed. Or so they thought.