Not that long ago I received a promo of a solo album from a guy called Mick White, once a singer in a later version of Samson. Now, I had never heard of the guy before so it was a really nice acquaintance especially since the album was really good and White turned out to be a really good singer. The music landed somewhere between classic Hard Rock and Melodic Rock with tendencies of AOR. So it was a bit of a surprise that just a few months later I got another promo that included White, this time in a band situation. Joining White is former Ya Ya guitarist Ray Calcut and former Dante Fox keyboardist Pete Lakin with Rob Naylor (Blood Red Saints) and Daz Lamberton (Red, White & Blues) helping out on bass and drums respectively.
For people with a bigger knowledge in the world of the more melodic side of Hard Rock all those band names has big AOR/Melodic Rock ring to them so before hearing a note from the album it’s easy to assume that AOR and Melodic Rock is what we’re being treated with from this British three-piece. And sure enough, the press release tattles of influences from Journey, Foreigner and Toto. That said, press releases aren’t always to be trusted so we’ll see about that. What I do hope for though is that White Skies doesn’t go down the thirteen a dozen AOR route so many new bands in that genre take nowadays.
Opener and leading single “What Do You Know About Love” is a sparking and punchy melodic rocker with a gutsy riff and infectious melodies. Its foundation is in Hard Rock but with 80’s smelling melodies that throws the song into Melodic Rock. It’s a powerful track with so many hooks it could win a fishing contest. Great stuff. The AOR-ish latest single “Emily” holds a slower pace and is a slicker piece that fits the late 80’s poppier genres. It brings on a Def Leppard flirting guitar line and some killer vocal-harmonies. It touches power balladry with its glossiness but it’s far from cheesy. The chorus is immediate and catchy as hell and the song smells like a hit a long way. Very good.
“Midnight Rendezvous” keeps the AOR-isms coming with a whole lot of pop hooks and contagious melodies. It’s a straight ahead pop-rock tune that holds both a glossy synth, a piano and some crunchy guitars. It’s a late 80’s Arena Rock stomper with a chunky riff, hooky vocal lines and a refrain impossible to remove from the brain once it’s there. Great stuff. “Kiss Me As I Say Goodbye” is a real power ballad but it also bears traces of 70’s Classic Rock as well as a very 1988 sounding keyboard riff. It’s slower in pace yet big and pompous with a nod towards Bon Jovi here and there and the chorus is massive and holds a direct catchiness. It might be somewhat sugary at times but it sure does its job as a lighter-in-the-air arena ballad. I dig this.
On a steady beat where the bass and drums creates a steady foundation, the second single “One Step Forward” also takes us on an 80’s, AOR-fueled joyride where both Journey and Toto shows up. It’s big on keyboards but it never leaves the guitars in the shadows. With sharp hooks and a very memorable main-melody the big chorus takes the song for the win. A slick pop-rocker indeed but a damn good one. “Two Worlds Collide” takes a more mellow path. This mid-paced half-ballad comes across as more melancholic and a bit dark yet it still holds a meaty guitar sound and a solid beat carries the 80’s flirting melodies. The chorus is again very strong and brings along some magnificent harmonies. Very good indeed.
“A Love Unjustified” is an upbeat Arena Rock stomper big on AOR-laden melodies, quite slick and smooth and very easily embraced. The keyboard sound is taken right from 1987 and White’s vocals holds a slight resemblance to a certain Steve Perry at times. It’s a straight forward and concise rocker with another stand-out refrain with lots of hit potential. Should be a single. Very good. Slow and deep with mellow melancholy, “Bring It On Back” is an upbeat and quite bombastic power ballad with a saddening ambience. The song contains a chunky bass-line, a Springsteen meets Bon Jovi piano and emotional vocal-lines. The big refrain is a real ear-worm that puts its hooks in you right from go. Damn good.
On a more classic Hard Rock note, the album’s titular track comes on strong on heavier and in a slower tempo. The crunchy and edgy guitars and the poundy beat gives the tune a rawer structure which contrasts some to the smoother keyboard sound and the catchier, 80’s laden chorus that takes a more Melodic Rock route. I like those contrasts – melodic melodies with direct catchiness is never a bad thing. “Leave A Light On” is a far more sparse affair. It’s a taciturn and held-back Classic Rock ballad that holds a crispy blues-lick and a jazzy, lounge-music vibe with some calming vocals. The chorus is still quite laid-back but holds a more West Coast/Pop/AOR arrangement which again brings on a nice contrast. A soft yet not cheesy tune. Brilliant.
Moving out of AOR territory and into a more Hard Rock structure – albeit a melodic kind – “Takin’ A Ride” is an uptempo rocker where rowdy guitars is a the front backed up by a solid rhythm-section. The riff is easily the heaviest on the album and even though slicker keyboards and smooth melodies are part of the song, it never loses edge at all. A meaty rocker perfect for the stage. Good one. Closing track “Sleeping In The Fire” – not a WASP cover – starts out slow and a bit pomp-laden but soon takes on a fast tempo, very distinct and concise and blends Hard Rock and Melodic Rock. The chorus is very direct and in-your-face and the song would probably work splendidly as a live-opener. Good one.
As a whole this album is really strong without any real weak songs at all. It’s very much a Melodic Rock/AOR affair but it stands clear that the band stands with at least one foot in classic Hard Rock. It’s also a good thing that the band has worked on finding a sound of their own even though it’s not a huge leap from White’s solo album. White’s raspy voice also brings another edge to the music as makes the more slick parts not as slick. As for the slicker parts, the album never goes into total syrup territories either which is a good thing. On the minus side lies the production – the album has a tendency to sound a bit budget at times but since the songs are as good as they are I’ll let that one slide. A really good debut and it’s gonna be interesting the see what these guys will come up with in the future.
8/10
Tracklist:
1. What You Know About Love?
2. Emily
3. Midnight Rendezvous
4. Kiss Me As I Say Goodbye
5. One Step Forward
6. Two Worlds Collide
7. A Love Unjustified
8. Bring It On Back
9. Black Tide
10. Leave A Light On
11. Takin’ A Ride
12. Sleeping In The Fire
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