Showing posts with label Michael Sweet. Show all posts
Showing posts with label Michael Sweet. Show all posts

CD Review: Stryper – Fallen

CD Review: Stryper – Fallen
Frontiers Music srl
All Access Rating: A-

Styper - Fallen 2015
Placing its faith in heavy, crunching riffs and bold, uplifting melodies enveloped in fire-and-brimstone bluster paid off handsomely for a reinvigorated Stryper on 2013's No More Hell to Pay, an album that drew rave reviews from critics once reluctant to pay them any respect whatsoever.

A Frontiers Music srl release, Fallen continues their glorious crusade back to metal relevancy. Holding nothing back in terms of its growing creative aspirations and staying on message with determined zeal, the yellow-and-black attack is increasingly intense and relentless on the mighty Fallen, where high-minded principles and sentiments sometimes clash with righteous indignation.

All of which is found in the epic opener "Yahweh," as storming thrash-metal anger collides with angelic choirs and rousing, uplifting power-metal drama in a tour-de-force production that's as ambitious as anything the Christian metal stalwarts have ever attempted. Driving furiously through fast-paced, gripping tracks such as the Black Sabbath cover "After Forever" and "Till I Get What I Need," Stryper seems to relish throwing off the shackles of its hair-metal past. And when provoked, they can turn downright vicious, passionately pounding the pulpit with thundering sonic authority while condemning Hollywood for its false portrayal of Christians in "Big Screen Lies."

On Fallen, the band's 11th original album, there is darkness and light, with Oz Fox and Michael Sweet trading various combinations of searing, hot-wired guitar licks that seem to take dead aim at Stryper's detractors and Sweet singing with dynamic force and great conviction, as drummer Robert Sweet and bassist Tim Gaines flex their rhythmic muscles. Brawling, weighty guitars grind through the title track, "Pride" and "Let There Be Light," their gnarled hooks gripping tightly to desperate souls seeking salvation, while "Heaven" smolders, "Love You Like I Do" stings with melodic sweetness and the lovely pop-metal ballad "All Over Again" swoons with sighing harmonies.

Without completely reinventing themselves, Stryper has shown that an old dog of an '80s metal band can learn a few new tricks and not lose its identity in the process. There are times on Fallen where it seems Stryper falls back too easily on what's worked for them in the past and becomes formulaic, but for the faithful who've stuck with them through it all, that's probably a comfort.
– Peter Lindblad

CD Review: Sweet & Lynch – Only to Rise

CD Review: Sweet & Lynch – Only to Rise
Frontiers Music Srl
All Access Rating: A-

Sweet & Lynch - Only to Rise 2015
It is 2015, isn't it? Seemingly from a different era, when glam-metal was king and Michael Sweet and George Lynch were lords of the Sunset Strip, Only to Rise is a debut album of towering melodic hard-rock spires from Sweet & Lynch.

While unabashedly raising a toast to the good ol' days, it's Sweet's penchant for yearning, grandiose melodies that makes this set actually seem timeless and not at all dated. Still, in many ways, Only to Rise certainly could be considered a time capsule from the mid-1980s.

Pairing a very busy Stryper front man with the equally hard-working ex-Dokken guitar shredder, Only to Rise soars on clarion vocals, generous hooks and sugary guitar crunch from Lynch, his riffs solid as bedrock, while he solos like a heat-seeking missile – all of it lending these songs the blazing thrust of NASA booster rockets. Adding more force and muscular drive to Only to Rise is the top-notch rhythm section of bassist James Lomenzo (Megadeth, White Lion) and drummer Brian Tichy (Whitesnake), two names that probably deserve some mention on the marquee alongside Sweet & Lynch.

Aside from the dreamy, if slightly schmaltzy, ballad "Me Without You," Only to Rise has big rock aspirations, building skyscrapers out of bittersweet anthems like "The Wish" – suffused with nostalgia for the Hollywood they remember – and "Dying Rose" in a matter of minutes, and doing likewise with "Recover," where Sweet nails difficult high notes like a champ.



With its juxtaposition of smoldering, bluesy verses and radiant, psychedelic chorus, "Divine" opens up the shutters and lets in a stream of light, while tracks like "Rescue Me," "Love Stays" and "Time Will Tell" build to amplified crescendos, flowing together beautifully like wild, swollen rivers that bring arena-rock floods somehow contained by the sandbags of superb songcraft and emboldened by strong, modern production values that bridge the present with the past. Had the '80s produced more of this, that party might have lasted a little longer. http://www.frontiers.it/
– Peter Lindblad

CD Review: Stryper – Live at the Whisky

CD Review: Stryper – Live at the Whisky
Frontiers Records
All Access Rating: A-

Stryper - Live at the Whisky 2014
A modern-day Sodom and Gomorrah in the '80s, the Sunset Strip was swimming in sin and depravity. It was the sort of place a vengeful God might reduce to rubble with a wave of His mighty hand.

Into this devil's playground walked four yellow-and-black clad crusaders, carrying the cross of Christian metal into dens of iniquity like the Whisky a Go Go. What a place for a band like Stryper to try to make a name for itself, fighting the good fight and eventually gaining acceptance from skeptics with a rugged, uplifting pop-metal sound full of blissful vocal interplay and spiraling, pealing guitar harmonies.

Some 30 years later, long after the platinum success of To Hell With The Devil, Stryper's original lineup of vocalist/guitarist Michael Sweet, guitarist Oz Fox, drummer Robert Sweet and bassist Tim Gaines made its return to the Whisky last November, eager to perform for the first time material from the heaviest album of their meaningful lives, No More Hell to Pay.

Available now as a 16-track CD/DVD package from Frontiers Records, Live at the Whisky is the raw, punched-up recording of Stryper letting it all hang out that night, kicking into high gear immediately with a venomous, hard-charging version of No More Hell to Pay's "Legacy" and churning through the tough, defiant riffs of "Marching into Battle," before sinking their perfect teeth into the big, joyous pop hooks, striking melodies and ragged glory of "Reach Out," "Calling on You," "Always There For You" and taking a whip to a high-spirited cover of the Doobie Brothers' "Jesus Is Just Alright."

Playing to a raucous crowd behind them every step of the way, Stryper deliver the goods and then some, giving as good as they get in return with a tight, energetic performance, as Fox and Michael Sweet reach deeply into their bag of tricks to solo like demons and harmonize like angels. A rampaging take on "The Way" rams into the double-barreled blast of "To Hell With The Devil" and "Soldiers Under Command" with all the force of a wrecking ball, as Robert Sweet's drums snap and crack and Gaines controls the low end with a firm hand.

This is Stryper firing on all cylinders, invigorated and sweaty, evangelizing without sermonizing and having the time of their lives. On message and on point, they play with renewed vigor and a sharpened sense of purpose that should be obvious to anybody with an open mind. The yellow-and-black attack is back, and it's ready to embark on another crusade.
– Peter Lindblad

Short Cuts: Saga, U.D.O., Michael Sweet

CD Review: Saga – Sagacity
earMusic/Eagle Rock Entertainment
All Access: B+

Saga -Sagacity 2014
"These are the days of the improbable," sings Saga's Michael Sadler in "The Further You Go," suggesting perhaps that modern technological advancements are the stuff of miracles.

Just in case they don't lead to the fulfillment of mankind's hopes and dreams, Saga hedges its bets with this piece of sage advice: "Might want to leave a trail of crumbs for the future." Likewise, with Sagacity, the Canadian progressive-rock code breakers' newest album, Saga looks forward, while holding fast to past triumphs.

Engineering some of the most innovative and intricately layered arrangements of their career, Saga combines Ian Crichton's brilliant guitar riffs and sparkling solos with the dazzling keyboard theatrics of Jim Crichton and Jim Gilmour on a collection of songs that trades some of the powerful immediacy of 20/20, their last LP, for deeper, richer sonic experiments and unpredictable melodic movements, such as those found in shape-shifting pieces "Vital Signs," "Luck" and "It Doesn't Matter Who You Are." While the funked-up, heavy grooves and muscular guitars of opener "Let It Slide" have a metallic edge, the bulk of Sagacity is not so straightforward, showing more devotion to the more imaginative, maze-like designs of "Don't Forget to Breathe" and "The Further You Go" – all of it produced to sound as clean and clear as of Saga's recordings, each song a city of tomorrow unto itself.

Throw in a nine-track bonus disc with thrilling, expansive live renditions of classics such as "Wind Him Up," "On the Loose," "Mouse in a Maze" and "Humble Stance," and the topical, thought-provoking Sagacity  exploring themes of modern alienation in age of social media, the satirical, customer-service lament "Press 9" being a prime example, even if it does feel utterly disposable – is a pretty good value for your prog-rock dollar. http://www.eagle-rock.com/

CD Review: U.D.O. – Live From Moscow
AFM Records
All Access: A- 

U.D.O. - Steamhammer:
Live from Moscow 2014
It's a new era for U.D.O., and the revamped lineup, missing Udo Dirkschneider's longtime collaborator Stefan Kaufmann, delivered the goods on 2013's sizzling Steamhammer, a thunderous expression of Udo's vision of what traditional metal is supposed to sound like.

Losing such a vital organ as Kaufmann, a dual threat as a musician and songwriting partner, put U.D.O.'s long-term health in doubt. Working closely with bassist Fitty Wienhold in Kaufman's absence, while bringing aboard young and hungry guitar-shredding transplants Andrey Smirnov and Kaspari Heikkinen, only seemed to invigorate the former front man for Accept, however. And now, with this electrifying two-CD/DVD live release under their belt as well, U.D.O.'s prognosis is excellent.

A 10:52 version of "Mean Machine," with its dynamic drum and guitar solos, highlights Steamhammer: Live in Moscow, recorded with perfectly mixed sound in a place that's always warmly embraced U.D.O. Hard-nosed, brass-knuckled maulers "King Of Mean," "Stay True" and "Burning Heart" sound even tougher and more aggressive in this setting, as does the surging, fully engorged title track, while the dark, enthralling melodies and tight hooks of "Future Land," "Cry of a Nation" and "Never Cross My Way" come into sharper focus, as U.D.O. galvanizes its flock. Worship the head-banging riffs, witness in awe the scintillating dual-guitar dogfights and let Udo's gravelly growl send shivers down your spine. This is U.D.O. at their best. http://www.afm-records.de/

CD Review: Michael Sweet – I'm Not Your Suicide
Big3 Records
All Access: A-


Michael Sweet- I'm Not Your Suicide 2014
Now an author, too, Stryper's Michael Sweet goes solo on I'm Not Your Suicide, and from the heavy, serrated riffing and wailing vocals of opener "Taking On the World Tonight," it's clear Sweet has some inner demons to exercise.

Just as his autobiography, "Honestly: My Life and Stryper Revealed," pulled no punches and candidly copped to a surprising array of weaknesses, I'm Not Your Suicide is at once defiant and strong, but also emotional and raw. And where Stryper's glorious last album, No More Hell to Pay, was, in all respects, a satisfyingly heavy, if more straightforward, juggernaut of Christian metal, I'm Not Your Suicide showcases Sweet's wonderful diversity and creativity as a songwriter.

On this, his seventh full-length studio effort of melodic hard rock, Sweet's ever-evolving mastery of melody and pop songcraft is on full display, as uplifting sermons like "The Cause," the title track and "All That's Left (For Me To Prove)" soar on emboldened, sweeping choruses, like the one that also raises the riff-mongering "Taking On the World Tonight" to such dramatic great heights. And if it's great hooks you're looking for, "Anybody Else" has a bag full of them. Never has Sweet's songwriting seemed this organic or soulful, and that's especially prevalent in the album's rousing vocal treatments, so well-plotted and yet completely free of artifice. So is the introspective ballad "This Time," Sweet baring his soul to the world and yearning for salvation.  

Not one, but two, nicely rendered covers of Neil Young's world-weary classic "Heart of Gold," one featuring an engaging duet with Electra Mustaine, perhaps reveal a folk influence that, prior to this release, had rarely manifested itself previously in Sweet's work, as does the countrified "Country Home." Guest spots from Chris Jericho, Doug Aldrich, Tony Harnell and Kevin Max give rise to the notion that Sweet is tired of being pigeonholed. I'm Not Your Suicide makes damn sure that'll never happen again. http://www.big3records.com/
– Peter Lindblad

CD Review: Stryper - No More Hell to Pay

CD Review: Stryper - No More Hell to Pay
Frontiers Records
All Access Rating: B+

Stryper - No More Hell to Pay 2013
Onward go these Christian heavy-metal soldiers, trudging off again to a war they've been fighting since their inception in 1984. Stryper's missionary work is never done, and on No More Hell to Pay, their eighth studio album, they unapologetically proselytize for Jesus as they always have. 

It's forgivable, given that it's pretty well established that for Stryper this religious fervor was never meant to be a gimmick. This is who they are, for better or worse, and if nothing else, at least they're not Jehovah's Witnesses.

Begrudgingly, the metal community, not known for being tolerant of religion and Christianity in particular, came to respect Stryper, even as cynics derided their black-and-yellow outfits and their teased hair. Trading in their bumble-bee spandex for black denim and t-shirts, Stryper's look is edgier and not so glamorous these days. The same goes for their sound. 

Was it God telling them they needed to get heavier? If so, the Almighty had the right idea. Living in the shadows, No More Hell to Pay is grittier than past Stryper offerings, with beefy, Goliath-sized riffs streaked with dirt and the strongest songwriting ever attributed to Michael Sweet and the disciples. Toggling between mid-tempo crunch and enticing crawls, Stryper has channeled its inner Accept or Judas Priest, forging melodies that have a firm grip and filling No More Hell to Pay to the brim with meaty, satisfying hooks. Tracks like the punishing "Legacy" and the stomping "Marching into Battle" are surprisingly aggressive, while "Sticks and Stones" slithers menacingly and Sweet and Oz Fox take their axes to the sharpening stone and grind away on "Water into Wine." 

All of them, though, bow to what becomes a powerful anthem of a title track, where slow-burning riffage sticks in your craw and a wind-swept chorus signals a redemptive change in fortunes, a theme near and dear to Stryper's heart. Mostly foregoing speed in favor of heft, Stryper, nevertheless, rips through "Saved By Love" like a righteous twister, and perhaps predictably, they give a euphoric reading of the old Doobie Brothers' hit "Jesus is Just Alright," which makes some of the embarrassingly ham-handed lyricism found throughout No More Hell to Pay easier to swallow. It's not all cringe-worthy or hackneyed, as there's always been a sincerity and sense of purpose in their writing that's refreshing and unusual in the world of metal, but then comes a chorus crafted around the old "sticks and stones may break my bones" mantra that shakes your faith in Stryper, even if its spirited attitude is admirable. 

Still, like Jesus throwing the money changers out of the temple, Stryper has driven away its more pop-oriented inclinations for No More Hell to Pay. This seems to be the kind of music they've wanted to make all along. More comfortable than ever in their own skin, Stryper has come out swinging against their critics, landing haymaker after haymaker, with Sweet's trademark vocal wailing and the technically brilliant guitar fireworks of Sweet and Fox throwing caution to the wind. And their backing harmonies are as golden as ever. While they may advocate a peaceful "turn the other cheek" philosophy, with No More Hell to Pay they've shown themselves to be tougher than anybody thought. http://www.frontiers.it/
- Peter Lindblad