November 21, 2011 – Just the mere mention of the name Billy Joel seems to create a sparkle in the eyes of any good music fan. And more often than not, they’ll be telling a personal story about “Scenes from an Italian Restaurant” or reaching for one of his records in a matter of minutes. There’s something magical about songs from the Bronx-born legend that makes his name one of the best conversation starters ever. The big-time began for Joel in 1973 when “Piano Man” hit the shelves. And now, it’s on the shelves again in a new form with an expanded and unreleased live disc. The “Legacy Edition” of Piano Man is in stores as of November 8, and gives the seminal album a very deserving second look.

If you’ve never listened to Piano Man from start to finish, there will be some surprises along your journey through the two-disc set. As the liner notes confirm, one of the biggest surprises is how “twangy, with banjos, dobros and fiddles so much of it is.” And it’s true. Joel was not a piano purist, nor did he sell himself to a straight-up rock sound early on. A prime example is the first track. “Travelin’ Prayer” starts out with as much piano as you’d expect, but about a minute in the tune picks up pace and gains a southern flare.

“I never sat down and said I’m gonna write a hit record,” Joel says in retrospect. “I wouldn’t know a hit record if it bit me. I just wrote songs. I wrote them for me, I wrote them for the band, or I wrote a song for the women in my life. I was just writing songs for me. It’s music that I wanted to hear. If I didn’t hear certain kind of music on the radio, I realized, ‘Well, if I write and record this it’ll probably be on the radio and that’s what I’ll hear.’ That’s what I was thinking. Not so much about having hits, but about making music that I liked. I only really ever did it for me. That may sound selfish, but I’m the only person that I really know all that well.”

Unsurprisingly, 38 years later the title song retains all of its brilliance and then some. And the same can be said for the other nine songs. What Joel accomplished here was nothing short of spectacular, and the second live disc is a special treat. The Legacy Edition of Piano Man makes available, for the first time ever, Billy’s full performance at Sigma Sound, re-mixed from the original studio recording. The concert includes three Billy Joel songs–”Long, Long Time,” “Josephine,” and “Rosalinda”–which do not appear on any other albums.

What’s more is that Joel’s entire catalog – all 14 titles – have been remastered and newly packed into what can only be described as a fan’s ultimate treasure. Billy Joel – The Complete Albums Collection brings together for the first time, in one elegantly designed box, the artist’s complete catalog of 14 essential titles, from 1971′s Cold Spring Harbor through 1979′s Grammy-winning Album of The Year 52nd Street and 1981′s live Songs In The Attic to 2001′s Fantasies & Delusions, the first album of Billy’s classical compositions. Each album has been recently remastered in 24 bit audio for this edition and comes in cardboard jackets replicating the original album covers and sleeves.

It would seem that 2011 is the year of the Billy Joel studio renaissance, which means many fans are wondering when the next “live” rebirth will take pace. But there’s no answer to this question yet, so it’s time to put on the headphones and let the music do its magic.

Billy Joel Complete Albums Collection Includes:

1. Cold Spring Harbor (1971)
2. Piano Man (1973)
3. Streetlife Serenade (1974)
4. Turnstiles (1976)
5. The Stranger (1977)
6. 52nd Street (1978)
7. Glass Houses (1980)
8. Songs In The Attic (1981)
9. The Nylon Curtain (1982)
10. An Innocent Man (1983)
11. The Bridge (1986)
12. Storm Front (1989)
12. River Of Dreams (1993)
14, Fantasies & Delusions (2001)
15. Collected Additional Masters (1985—2007)

Billy Joel – Piano Man (Legacy Edition) Track Listing

DISC ONE:
The Original Album
1. Travelin’ Prayer
2. Piano Man
3. Ain’t No Crime
4. You’re My Home
5. The Ballad Of Billy The Kid
6. Worse Comes To Worse
7. Stop In Nevada
8. If I Only Had The Words (To Tell You)
9. Somewhere Along The Line
10. Captain Jack

DISC TWO:
The Sigma Sound Studios Performance
Introduction
Falling
Travelin’ Prayer
The Ballad of Billy the Kid
She’s Got A Way
Everybody Loves You Now
Nocturne
Turnaround
Long, Long Time
Captain Jack
Josephine
Rosalind
Tomorrow is Today

Recorded live in April 1972 at Sigma Sound Studios in Philadelphia, PA

So it’s been eons since fans have heard anything new from Randy Bachman and Fred Turner. But you’d never know they’ve spent decades apart after listening to the forthcoming release from these two rock legends. The brand new Bachman & Turner release finds the two musicians somehow picking up exactly where they left off, and churning out fully charged rock sounding much like what could have come after 1974′s Not Fragile.

Their voices have withstood the test of time, and the pounding guitar pounding and catchy hooks are still in place. Bachman & Turner are back, and ready to rock.

The album starts off with “Rollin’ Along”, quickly reintroducing the listener to the legendary Bachman & Turner sound. Fred Turner’s vocals set the mood, but it’s the second song that really begins a spark. “That’s What It Is” is will bring back memories of  “You Ain’t Seen Nothin’ Yet”, and is sure to cause ample head banging and singing along. Bachman’s vocals sound great on these songs as he stutters on lyrics not unlike the famous “n-n-n-n-n-nothin’ yet”.

“Slave to the Rhythm” is a party song, and things slow down a bit with the groovin’ tune “Waiting Game” followed by “I’ve Seen the Light” – yet another great sing along.  Two of this reviewer’s personal favorites – “Neutral Zone” and “Traffic Jam” – wind down this rockin’ disc. 12 new songs in all, it’s plenty to satisfy fans and even bring some younger listeners into the fold.

Available for purchase September 7^th, Bachman & Turner is an instant classic. It’s an album that’s strong all the way through with plenty of chunky guitar riffs and deep throat vocals to keep you rockin’. Simply put, Randy Bachman and Fred Turner are two stars that can make Rock ‘n’ Roll happen. Give it a listen, and this disc will keep sounding better every time.

Through good and bad over the last 30 years, Dokken has held strong as a force to be reckoned with in the world of hard rock. Millions of albums were sold as the band hit its prime in the 1980s, and although the times and tastes have changed, Dokken has set forth a continuous supply of new releases for its fans. Now in 2010, singer Don Dokken feels that the time has come for updated versions of the hit songs recorded by the band decades ago – which have now become rock classics.

Enter Greatest Hits, a 12-song package consisting of 10 re-recorded and re-mastered songs, and two brand new tracks. From beginning to end, the melodies are fresh and the production is top notch on this release. There’s an added force to the driving guitar of “Breaking the Chains”, and “Unchain the Night” sounds more menacing than ever. Dokken is back to prove their unique brand of rock will live on, somehow managing to produce a release that is just as addictive as their prime works.

“Just Got Lucky” is a great selection to start off the disc, and perhaps the highlight of the re-recorded songs. Don Dokken’s voice is kept in a lower and more comfortable key on this song as it is on many others, but this is clearly one of his finest singing efforts. The band’s very first hit “Breaking the Chains” is next for a facelift. The rhythm section is much more defined than it ever was on the original version, and the guitar riffs are remarkably crisp. Don Dokken from years past is brought in to fill some of the impossibly high parts, but the entire recording flows seamlessly. The guitar solo and bridge of the song is a prime example of the excellent production showcased on this disc.

There’s no break in the action as “Into the Fire” is up next. Added bass and menacing vocal delivery from Don make this recording a success. “The Hunter” is another fine performance from Don even in its higher parts, and features a ripping guitar solo from Jon Levin. Next is a case where the perfection achieved in the first version is nearly impossible to repeat. “In My Dreams” isn’t a bad re-record, but it is one of the weakest songs on the disc.

The chorus of “It’s Not Love” is sampled from the 1980s, but the slightly tweaked guitar solo adds some flair to the song. The sole ballad that made the cut, “Alone Again” maintains its original passion with a more rugged performance from Don Dokken with just the right touch of vibrato. “Dream Warriors” and “Unchain the Night” are noticeably changed in key from the originals, with “Unchain” emerging as the stronger of the two. The instrumentation of the haunting introduction is much improved, and as Don yells “never” for the last time, Jon breaks into a finely executed version of George Lynch’s solo.

Mick Brown pounds the intro to “Tooth and Nail” harder than ever, but the most noticeable part of this final song is the rough tone to Don’s voice as he wails “straight to the top” with all his might. Letting it loose, after all, is what metal is about.

The two new songs that follow the 10 re-records are “Almost Over” and “Magic Man”. “Almost Over” features what is perhaps the best vocal performance from Don Dokken on new material in over a decade. The songwriting is very reminiscent of early Dokken, but is still modern enough to stand ground in 2010. Drug dealers are the subject of “Magic Man”, a fast-paced finale to the disc. Entrancing guitars are intertwined with lyrics that tell the story of a drug addiction, all to a forceful backbeat.

Two bonus tracks in the form of cover songs are available for listeners in Japan. “We have a cover song called “Lies” by the Knickerbockers and also “Bus Stop” by the Hollies. Mick sang live as a duet on that and it came out really cool,” said frontman Don Dokken in our recent interview. You can read the full interview, which includes discussion of the band’s future, by clicking here.

Dokken is on the road once again in 2010. You can view tour dates and get the latest information on Don Dokken, Mick Brown, Jon Levin, and Sean McNabb at Dokken.net.

Jeff Scott Soto has made a name for himself in the rock industry as one of its most diverse and active vocalists. His work with the likes of Talisman, Trans-Siberian Orchestra, Journey, and Yngwie Malmsteen has kept him in the studio for the better part of the last 20 years, and on the road for the rest. While certainly a strong singer in the studio, Soto is another force altogether in the live setting. He adds charisma and energy to his flawless vocal delivery to create a truly memorable concert.

One Night in Madrid is the second live offering from Soto, and is available now in Europe through Frontiers Records. On January 12, the CD and DVD package will see a US release through Frontiers. Over one and a half hours of live action recorded an an intimate venue in Madrid, Spain makes this a must have for Soto fans.

Disc One opens with a blaze of funky guitars leading into “21st Century“, a modern sounding track from Soto’s latest effort Beautiful Mess. The groove continues effortlessly into a series of rockers from Talisman and Soto’s previous solo releases. With an expansive catalog of Talisman songs, a full body of solo work, and recent projects like W.E.T. to draw from, choosing a set list was perhaps the biggest challenge for the singer.

Jorge Salan’s masterful guitar work is a highlight of this show, shining through on hard rocking tracks like “Eyes of Love“. Soto’s energy is evident if not contagious throughout the recording while delivering perfect renditions of songs from his recent solo works. Technically speaking, the sound quality is clear and stunning, and the video production on the DVD is equally impressive.

Rock was certainly king of the evening, but that’s not to say that the show is without its softer moments. A piano medley of ballads including “If This Is the End” and “Holding On” establishes an even more direct audience-to-artist connection with a piano becoming the only thing between Soto and the Madrid crowd. A true highlight, the encore sees the band and the crowd cut loose in a 15-song medley of rock, funk, and even disco hits including “Stayin’ Alive” and “Brick House“.

Additional features on the DVD include a tribute to the late Marcel Jacob, exclusive tour footage, and a complete collection of music videos from Soto’s solo career over the last eight years.

Catch up with more of Jeff Scott Soto at his official website, and get information on this and other rock releases at Frontiers Records.

Few, if any bands, are fortunate to have to kind of loyal and enthusiastic fanbase that KISS maintains. The band has perhaps set a record for the most overall sales when toys, games, comic books, and trading cards are factored in alongside their worldwide album sales of 80 million. Although Canadian singer Michael Bublé topped KISS on the charts during the week of Sonic Boom‘s release, its #2 spot is still a good indicator that a 25th Gold certified album for the band is not out of the question. In the two weeks since Boom’s release, fans have been trying to decide whether its 11 song offering makes up for the 11 years that passed since 1998′s Psycho Circus. They’ve also been trying to classify the album; is it really classic KISS? glam KISS? or perhaps modern KISS?

In the end the songwriting on Sonic Boom is so strong, and the melodies so memorable, that it would be a crime not to admit that it fits the bill as a classic KISS album. When the addictive guitar riffs of “Modern Day Delilah” hit, there is no time to waste – the volume dial must be turned up to 11. The rest of the songs are so solid that you’ll forget to turn it back down. From beginning to end, it’s guitar oriented rock and roll done in the style that KISS has so publicly perfected. Paul Stanley is to be thanked for the brilliant overall mix of sound, and Gene Simmons has outdone himself by writing songs that stand out as some of the best of his career. His mastery on “Yes I Know (Nobody’s Perfect)” will grow on listeners fast – its got a chorus that can’t be forgotten, and rousing lyrics that only Gene could write.

Another thing to like about Sonic Boom is that it’s a true family affair all the way. In between the vocal trade-offs of Simmons and Stanley, drummer Eric Singer and guitarist Tommy Thayer both take turns handling lead duties (on “All for the Glory” and “When Lightning Strikes“, respectively. During “Glory”, Singer shows off his unique set of pipes, while Thayer lays down a blistering guitar solo. The cowbell makes it hard not to immediately enjoy “Lightning”, and Thayer’s voice shines in a much different sound initially, but by the song’s end it’s clear that he was born to sing KISS songs. Together, the four vocalists in this band are able to make a song like “Stand” into the bombastic masterpiece that it is.

Upon listening to the first single “Delilah” at KISSonline.com, and reading the news that the album would be produced by Paul Stanley, my initial reaction was that the album was going to be dominated by Stanley, and was to become his shining moment. That perception changed when the album was finally released – and it wasn’t because of any shortcomings on Stanley’s part. Instead, it’s because the album is a shining moment for KISS – a band that has transcended the odds and made it through 35 years to produce a work that stands up as a career highlight. We may never know whether it was the decade taken to clear thoughts and renew senses, or just a spontaneous surge of inspiration that led to this tremendous album. But whatever it was, KISS fans can take solace in the reality that their band is back – and better than ever.

Watch here for continued coverage of the KISS comeback in the form of a live review in November.

Whenever a band goes more than a few years without releasing an album, the fans tend to expect more and more from the next one – just ask Def Leppard. In Foreigner‘s case, a 15 year gap between 1994′s Mr. Moonlight and their current release Can’t Slow Down created a lot of pressure on the new material. And so the question that critics and fans will inevitably ask themselves is: “was it worth the wait?” We will let you make that call, because it’s a tough one.

A bit contrary to what its title may suggest, Can’t Slow Down is heavy on the ballads. However, this doesn’t stop it from becoming a quality album done in the classic Foreigner style that we all have come to know and appreciate. As you would expect, the musicianship is top notch, and the melodies are strong and memorable. Mick Jones and Kelly Hansen prove themselves to be an excellent writing team alongside the talented Marti Frederiksen. All things considered, Can’t Slow Down is certainly something to be excited about.

When the title track “Can’t Slow Down” kicks in through your sound system, it’s hard not to ‘feel that blood rushing through your veins’, to borrow from the lyrics. Solid production and an urgent chorus make this first track a clear winner, and more importantly it establishes Kelly Hansen’s dynamic singing style for the rest of the album. A modern groove slows the pace down during “In Pieces“, which offers a diverse and full sound with layered background vocals and ethereal keyboard tones. The slower tempo just one song into the album may catch some off guard, but it hardly disrupts the flow of the album. “When It Comes to Love” sounds like 1981 again as romantic keyboard harmonies mingle with sultry saxophone. It’s songs like these that remind the listener of that Foreigner sound they’ve been missing all these years.

In many ways, “Living in a Dream” picks up where the title track left off. An instantly catchy guitar riff makes it memorable while tempo changes keep it interesting. The only missing element seems to be a longer guitar solo. Soft piano and passionate vocal delivery illuminate “I Can’t Give Up” as a truly gripping ballad, while “Ready” brings the fast tempo back with an upbeat hook; it’s a finely crafted song that delivers persistent guitar atop a steady bass line.

“Give Me a Sign” is a prime example of the excellent production value on this CD. All the instruments from tambourine to trumpet are there to be heard in their fullest, making the listener feel as if they are sitting in on a live jam session. The song itself is rather addictive with its punchy keyboards and enjoyable chorus. “I’ll Be Home Tonight” comes on strong in the band’s classic ballad style. Filled with all the right sounds and melodies, it leaves nothing to be desired and would be a perfect fit for AC radio.

“Too Late” is a familiar song that has already been blessed with the play on rock radio that it so clearly deserves. It proudly flaunts all of the characteristics of a Foreigner rock anthem – a sing-along chorus, strum-along riffs, and a climatic guitar solo. A little experimentation is in the cards for “Lonely“, which initially carries a Caribbean feel. In the end the song is rounded off nicely by rich vocals from Hansen and aggressive riffs from Jones. “As Long As I Live” is a darker ballad that gives Hansen a chance to sing in a huskier style, and despite its similarity to songs three and eight, this song stands up quite well thanks to yet another melodic chorus.

Drummer Brian Tichy and guitarist Mick Jones take you on a ride for “Angel Tonight“, another strong point on the album. Kelly Hansen’s wails lead into an all-too brief guitar solo from Jones; it’s the rockers on this album that leave the listener wanting more. A 32 years later version of “Fool for You Anyway” finishes out the disc in fine form. Longtime fans will recall it from the band’s 1977 debut, and its inclusion on Can’t Slow Down gives the feeling that the band has come full circle.

For years now Foreigner has been touring the world over and over, bringing their world class rock show with them (see our concert review). Finally the time came to enter the studio once again, and it is great to have them back. Mick Jones is truly the master of the rock ballad, and Kelly Hansen has taken this opportunity to prove himself just as proficient with the songwriting pen as he is with the microphone. Although the criticisms of the album are few and far in between, the writing input of Jeff Pilson is missed (Pilson became known as a brilliant songwriter while a member of Dokken). Perhaps the next album will feature more of his input.

If you’re in the market for a consistent mix of quality rockers and ballads, Foreigner has what you need. Visit www.foreigneronline.com for the latest on the band, and be sure to get your copy of Can’t Slow Down at Wal-Mart retailers everywhere.

Sammy Hagar. Joe Satriani. Michael Anthony. Chad Smith. They’ve all encountered incredible success on their own, but together, they are Chickenfoot. It’s not too often that a group of musicians with 20 or 30 year careers join together to form a new entity, but it’s very refreshing. Of course since the band is a ‘supergroup’, expectations were set very high for their debut album – and rightfully so. Bands like Asia, Bad English, and Damn Yankees have set the bar for debut albums in this department, and upon the first listen to Chickenfoot it’s clear that the standard is achieved – and then some. Some of the songs on this album are exactly what you might expect out of a collaboration involving these musicians given their past, and others are not what you would expect – but that’s the appeal. Chickenfoot has created its own unique sound with this release, and the creativity is already paying off as sales keep it holding steady at #4 on the Billboard 200 for its second week.

It may not be the kind of song the listener expects when first popping in the CD, but “Avenida Revolution” does a fine job of kicking the album into a tight groove with a ’90s influenced sound. It ends with a rough and menacing vocal delivery from Hagar, followed by a bass driven chant. As “Soap on a Rope” breaks into its Montrose style guitar riffing and vocal harmonies done in the style of Van Halen, a harmonious balance of classic and modern is reached. Unearthly screams from Sammy and a stylish solo from Satriani mark the second half of the song and ensure its place on the playlist of radio stations and music listeners alike. A southern tinge comes alive in “Sexy Little Thing“, a song that was truly made for a drive down a long highway on a hot summer day. If the sing-a-long chorus and impressive vocal harmonies aren’t enough, the song offers a stripped and soulful bridge that deserves equal praise.

“Oh Yeah” screams the words ‘radio single’ from the start, and sounds like a natural, more mature progression of Sammy’s party rock creation of the last decade. Chad Smith’s drumming style comes through nicely on this song and becomes a perfect complement to Satriani’s guitar solo. “Runnin’ Out” offers blistering guitar mastery and a bluesy drive, but repetition becomes its downfall and makes it the album’s weakest link. Fortunately, “Give It Up” comes along and is an instant album favorite. Mixing a moody vibe with strong vocals and electrifying shouts of  “Arriba! Arriba!” from Hagar, the song adds a melodic middle section and goes out with a bang.

If you weren’t convinced before that Joe Satriani is not only a virtuous, but also a diverse player, “Down the Drain” will certainly do just that. He weaves a tight, dirty sounding groove for the first half of the song, and alternates between a more clean sound and a bluesy, Thorogood style for the rest of it. Marked by mellow and pleasing vocal harmonies, “My Kinda Girl” fits perfectly into its spot on the album. “Learning to Fall” is a song that cools down the album’s tempo, but in a good way. Sammy Hagar gives his best vocal performance yet, his emotive tone effortlessly mingles alongside Satriani’s heartfelt playing. The catchy “Turnin’ Left” starts out sounding like one of those signature Satriani instrumentals, but becomes something much more as soon as Michael Anthony’s backing vocals are brought in. It’s a gritty, yet melodic song that wouldn’t have fit on a Van Halen album, but finds its place on this release. You’ll want to have the speakers turned up for this one while Satriani cuts loose. “Future in the Past” closes with a positive feel that contrasts the opening song. Hagar’s energetic delivery, Satriani’s squealing tone, Anthony’s rich backing vocals, and Smith’s exhaustive drumming are all brought together for a great finish to the album.

In theory, Sammy’s party rock may not seem like the perfect complement to Satriani’s technical guitar approach, but this album makes it work to the satisfaction of the listener, even though the perennial critic may seek out flaws. Satriani shines but doesn’t hog the spotlight, while Sammy keeps things loose – but not too loose. These aren’t to be seen as bitter compromises, but rather as natural occurences that are prompted when working alongside a co-writer. All said, the album delivers on many levels, and will provide a great soundtrack to the rest of the summer and beyond. Let’s hope there’s more to come from Chickenfoot.

Dennis DeYoung made his mark in rock history as Styx’s dynamic front man; his voice and lyrics forever immortalized in songs like “Babe” and “Come Sail Away”. It’s been over a decade since DeYoung has performed live with his Styx bandmates, and although it may have taken some time, the singer is once again making a big splash in the music scene with One Hundred Years from Now. The bottom line on this album is that Dennis DeYoung still has the pipes. The bar was set high during his commercial peak, but Dennis delivers in this effort as the incredible singer and songwriter that he is. Rockers and ballads, intricate keyboard solos and powerful vocal harmonies – it’s all here. The songs are all fresh, but at the same time bursting with elements of Styx as the passion in DeYoung’s voice makes one wonder if it’s 1977 again. He rocks harder than ever before in this release, which is one of his best works to date. The review below is of the Canadian version, which does not include the two bonus tracks on the forthcoming American version: Private Jones, and There Was a Time.

The album begins with the title track, and while the intro is laced with tender keyboards and an accordion, don’t be fooled. The chorus and bridge of “One Hundred Years from Now” makes it clear that pounding keyboards and driving guitars will be the dominant force on the album. The Canadian release of this song was a duet between DeYoung and Eric Lapointe, who sang his parts mainly in French, but the American release features only DeYoung. Powerful vocals and an inspired guitar solo make this song a perfect start to the album. A punchy bass line and snarling guitars characterize “This Time Next Year“, a bombastic rocker where Dennis’ full vocal range is utilized. The chorus harmony in this song is very reminiscent of classic Styx, and it’s very catchy to boot. “Rain” is a moody song driven by aggressive drums and featuring a very modern sounding bridge. On “Save Me“, a mid-tempo track that transforms from a ballad into a rocker, Dennis oozes emotion and passion throughout – it’s a song that sends chills up your spine. Surprisingly, “Breathe Again” is the album’s only true ballad. Dedicated to wife Suzanne, the song has a very classic 1970s feel to it, particularly noticeable in the Babe-esque keyboards and vocal harmonies.

Clocking in at nearly six minutes long, “Crossing the Rubicon” is an epic and diverse piece. The first half of the song is marked by airy keyboards and acoustic guitar, while the second half rocks out with Dennis engaged in a lyrical rap before the guitar solo inevitably takes over. “Suite Madame Blue” comes to mind as the song closes out with that famous high pitch synthesizer note. “Respect Me” is a simply outstanding song. With its silky strings and provocative guitars, it will be in heavy rotation on the CD players of most listeners. (Note that this track is only available on the Canadian release)

“I Believe in Love” is one of those love songs that only Dennis can create; its a reminder of his writing talent and his vocal ability. As it opens with a funky beat, “Forgiveness” immediately catches the listener’s attention. The song is layered with heavy guitar riffs and soulful vocals from Dennis. A hint of country emerges on “I Don’t Believe in Anything“, a light song with a Nashville guitar sound, in which Dennis takes note of how things have changed over the years and even questions: “How the hell’d I get this age?” The album won’t end without a fight – “Turn off CNN” has a theme similar to the previous song, but instead takes its message into a heavy, guitar driven rocker. With a blistering guitar solo and crashing keyboards, it’s an instant favorite.

When the album saw a Canadian release in 2007, it’s first single, the title track, shot up to #1 in Quebec and prompted seven sold out shows in Montreal. Tomorrow the album will be released in the United States, and with its ability to please both halves of the divided Styx camp, it will undoubtedly be very successful. Bridges may have been burned to prevent any further collaboration between DeYoung and Styx, but with an album like this it’s hard to imagine how a fan of the Styx catalog could be unhappy. Pick up the album tomorrow and keep an eye out for tour dates in your area this summer as Dennis will be hitting the road.

Jeff Scott Soto is undoubtedly one of rock’s most versatile performers; whether it’s classic rock, heavy metal, or even modern rock, you can be sure that Soto can handle it. Beautiful Mess is the latest work from this singer who has worked with the likes of Journey, Yngwie Malmsteen, Talisman, and Dokken. All group projects aside, on this album it is clear that Soto produces some of his finest work both vocally and lyrically when on his own. Beautiful Mess is an album that accomplishes a perfect blend of the classic and melodic with the modern and funky. There’s something for everyone as the songs are fresh enough for the younger generation, but chock full of enough melody and guitar to please the fans of his earlier work. Jeff Scott Soto has truly solidified his presence with Beautiful Mess, a soulful and fun rock album that will continue to grow his already expanding fan base.

“21st Century” gives a solid start to the album with its catchy chorus, edgy guitars, and bold vocals. This song is a great example of how Soto bridges the generation gap with his unique blend of the classic and contemporary. The tempo cools down for “Cry Me a River,” a funky track with great vocal layering and grinding guitar. Soto’s voice is the focus during “Gin & Tonic Sky” as the instrument mix is tuned down to give the listener a better perception of his vocal mastery. “Hey” is an upbeat song featuring a fun mix of acoustic and electric guitar – the lyrics are equally fun with “leave the stress behind, celebrate good times” as a theme. A moodier theme takes over on “Broken Man,” and the lyrics follow suit as the title suggests. “Mountain” brings a modern flair with a hip-hop sound, soaring vocals, and a techno beat. “Our Song” is one of the strongest songs of the album, featuring a pounding, fists-in-the-air chorus that make it a perfect fit for MTV, if it would ever play music that is.

Soul and funk take control on “Eye“, a song that blends a great guitar melody with a terrific vocal performance. “Bring It Home” sets a sultry tone with scratching guitars and even a reference to Marvin Gaye. Hard rock meets modern rock in a very pleasing way on “Testify,” featuring an unforgettable chorus and fine guitar work by Ben Carey. Jeff unleashes his trademark sound on this song, delivering a mix of menacing wails and smooth backing vocals. “Wherever U Wanna Go” is a mid-tempo rocker that blends in a bit of soul. Finishing off the album is “Kick It,” a Beatles influenced song with a modern twist. The layering of vocals, guitar, and even a brass section is a great way to end the album.

The album also features two bonus tracks: “Heart Starts Healing” and “Take U Over with Me“, both are great extras to have. Beautiful Mess certainly isn’t a mess – it’s a brilliant and creative work that reaches out to fans of all ages with great melodies and a blend of rock, funk, and soul. To add to the album’s already outstanding value, a bonus DVD is included with all physical copies. The DVD contains music videos for the album’s 3 singles: “21st Century”, “Gin & Tonic Sky” & “Hey”, along with wallpaper, a photo gallery, and a 20 minute video entitled “What a Beautiful Mess”. The album was released as a digital download last year, in Europe this February, and will be released in America on April 7 on Frontiers Records, through a brand new and very exciting U.S. distribution deal with Super D Independent Distribution. To pre-order the album, simply search for it on Amazon.com, or follow this direct link.

In addition, there are three more U.S. releases from Frontiers that you don’t want to miss on April 7. Jimi Jamison‘s epic Crossroads Moment album (read my review), Wetton/Downes‘ Icon 3 collaboration, and a DVD from White Lion. More Frontiers releases in America will follow in May so be sure to check back for the latest. For more on Jeff, go to his official website – www.jeffscottsoto.com.

Late winter and spring seems to be the time that most bands decide to announce their recording of a new CD, and 2009 is no exception. Lou Gramm, the former vocalist of Foreigner who has been making a new career out of extensive solo touring, will release his brand new record on May 30. The album will be in a Christian Rock format, and according to Lou’s website, it is in the mastering stages and will see a release through Spectra Records. Gramm battled a benign tumor in the late 1990s, which affected his ability to sing. This eventually led to his departure from Foreigner, a band in which his remarkable and original vocal style played an intricate role alongside the guitar and songwriting talents of Mick Jones. I will post more details on Lou’s project as soon as they are available.

Survivor is a band that has seen many line-up changes, the most notable of which being the band’s lead vocalist. While the soaring vocals Dave Bickler and Jimi Jamison brought the band to fame, former MSG frontman Robin McAuley has carried the torch since Jamison’s departure in 2006. The band has performed approximately 50 shows with McAuley, and now a new album with this line-up is in the works. The rest of the band consists of Frankie Sullivan on guitar, Marc Droubay on drums, Michael Young on keyboards and guitars, and Billy Ozzello on bass. The bands forthcoming press release states that the band is “­currently hard at work at studios in Chicago and Los Angeles on a new studio album which they hope to release by the end of the year.” The album would be the band’s first since 2006′s Reach, which was a mixed assortment of new songs and songs first written in the mid-1990s. While Reach was a commercial disappointment, with the right promotion and exposure, Survivor has the potential to make a splash with the new record.

In touring news, more information has arisen about the two 3-band tours which will likely be the year’s most prolific concert events from the classic era. The pairings taking shape are:

• Def Leppard/Poison/Cheap Trick
• Styx/REO Speedwagon/38 Special

The only new information about these tours is that we are now aware of the likely opening acts, Cheap Trick and 38 Special respectively. Tour dates for these two should be released sometime in March.