Shake
Rip it Up
Walk that Walk
Slippin Into Darkness
Saints & Sinners
Well, here we go again with the well-known story I’ve been delivering for ages on my blog. It goes like this: There once was a very talented rock band with passion and a drive. One day the band decided to release their debut album with the hopes of hitting it big. The album was funky, exciting, riff-centered and just as pleasing as any other good rocking album out there. Unfortunately for them, the album didn’t have a big breakthrough because of a new force on the block called “grunge”. The guys couldn’t beat it and soon enough they were over.
This is basically what happened to the short-lived band. One album released in 1992 and a disbandment in 1993. One more thing you need to know about Saints & Sinners is that they are from Canada and consisted of five members (as shown on the photo) – Rick Hughes – vocals, Stephane Dufour – guitar and background vocals, Martin Bolduc – bass and background vocals, Jeff Salem – drums, Jesse Bradman – keyboards and background vocals. I don’t know much about the other members but I’m familiar with Jesse Bradman because he worked with many people from the biz, including Night Ranger, UFO, Michael Schenker and Indigenous. Another thing that might interest you is that the vocalist Rick Hughes gained popularity in another Canadian rock band, called Sword (recommend it as well)
The Album
Already mentioned that this is the one and only album of Saints & Sinners and it was released in 1992. Anything else you need to know? Well, if you love glam metal, if you love catchy riffs and solid rocking melodies, colored by magnificent vocals, you will LOVE this album. The atmosphere is very energetic and it just makes you play it all over again once you reach the last track. Needless to say, this melodic but loud self-titled debut is highly underrated. But hey, discovering hidden gems is what I live for! In terms of songs, I would definitely point “Wheels of Fire” and “Walk the Walk” as my two favorite tracks from it. Those two songs (now when I think about, most of the album actually…) reminds me of Hardline’s “Double Eclipse” and XYZ’s self-titled album – both great and dearly beloved albums. That’s all good, though! “We Belong” is another track to check out and that’s not just me and my power ballad adoration speaking. The ending track is epic so watch out for it! “Slippin Into Darkness” wrapped up the album and ironically, wrapped up their career which slipped into darkness…
Trust me and play the entire album now:
References:
Album artwork, retrieved from: https://en.wikipedia.org/wiki/Saints_%26_Sinners_(Saints_%26_Sinners_album)
Band photo, retrieved from: https://heavyharmonies.com/cgi-bin/glamcd.cgi?BandNum=409&CDName=Saints+and+Sinners
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Where do I even begin? So many outstanding, well-established in the industry artist were part of this project… One thing you need to know is that it all started with Michael Schenker who already made a name for himself as a one-of-a-kind guitarist in Scorpions and UFO. In 1979, he formed the melodic rock band, Michael Schenker Group, which eventually, in 1986 to be precise, evolved into the McAuleySchenker Group – named after guitarist Michael Schenker and vocalist Robin McAuley (the picture on the right). The group, lead by the fearless guitarist and the brilliant vocalist lasted for just a few years before they called it quits. Michael Schenker reformed the Michael Schenker Group and that’s pretty much it (at least the ultra short version of the story I’m telling you; there have also been many reunions, including a recent one in 2012). 
McAuleySchenker Group released a total of three studio albums, one acoustic (Japan only) and one live, unplugged album. Today I will focus specifically on their third and final studio album, simply titled “M.S.G.”. Since the band had a huge following in Japan, they first hit the Japanese market in 1991 and a year later, released it in Europe (that magical year of 1992!). 
We all know Pete Willis as the original guitarist of Def Leppard. He was there when the Leppards released their triumphant debut “On Through The Night” (1980) and their even bigger sophomore hit, “High ‘N’ Dry” (1981). In fact, that hungry, raw, much heavier early sound of the band is often contributed to his guitar skills. In the summer of 1982, right in the middle of the “Pyromania” recording sessions, however, Pete Willis was let go due to his drinking problem. We know what happened with Def Leppard – they hired Phil Collen and went on to become on the most successful names in the industry. What happened with Pete, though? Not many people know exactly how his career moved on, actually. I can only imagine how tough the years to come and that whole transition must’ve been for him. However, he did manage to pull himself together and participate in another, less known but quite interesting rock project, titled Roadhouse. Guess who else was in the band? Drummer Frank Noon, who also was once part of the Def Leppard family, playing drums on The Def Leppard E.P. joined Pete Willis but for a short period of time; he left Roadhouse before the recording of the album. Finally, it was Wayne Grant on bass, Trevor Brewis on drums, Pete Willis and Richard Day with the guitar and Paul Jackson was recruited as the lead vocalist.
The year was 1991 – definitely not the most suitable time to release a melodic rock album. Still, people were pretty excited to see what the first post-Def Leppard record of Pete Willis will sound like. Well, it sounds highly satisfying if you ask me!
I have never felt a connection so instant and so strong as the one I had when I first heard those opening riffs. I didn’t know about the long and painful story behind the song and of course, that famous love triangle but I could feel that there’s just so much going on…”Layla” is not just your regular romantic tune; it’s a 7-minute long epic ballad that features two highly impressive parts – a speedy blues-oriented assemble, followed by a gentler piano and side guitar instrumental. I was young but I could truly understand why “Layla” is referred to as one of the most important songs rock songs of the ‘70s and Eric Clapton’s most outstanding work. For me, it all started with “Layla”; I needed to hear it just once to know that Eric Clapton will become a huge part of my life…Years later, I cannot even imagine my life without his music.
My progressive rock journey started with ELP and in particular the song “Still…You Turn Me On”. I will always remember how immensely captivated I was by the bizarre, but gorgeous instrumentation, stunning lyrics and of course, Greg Lake’s vocals that just sent me to another dimension. I felt so attracted to this song; my body, my mind instantly reacted and by the time I knew it, I was already listening to their entire discography. ELP opened a new chapter of my life and for that I will always love them.
“More Than a Feeling” is probably the main reason why Boston and their debut record became one of the most popular rock acts of the late 70s. Each and every second of this song was designed to instantaneously crawl under your skin, inject its blessing and leave you in a state of trance. I wasn’t an exception. This song was never just an opening track to a classic rock record from many many years ago. “More Than A Feeling” turned into my ultimate relaxation outlet and a way for me to experience sweet comfort right from the very second I heard those guitars. I guess Brad Delp’s killer vocals, relentlessly playing with your senses were another reason why this song grabbed me right form the beginning.
One of my biggest musical obsessions is hard rock power ballads from the ’80s. Everyone who follows my blog and 
There are rock ballads and then there’s Scorpions’ “Send Me an Angel” – a song that brings tears to my eyes every time I play it. I remember my first moments with this track back in the day very distinctively because the sincere, so powerful and expressive vocal delivery of Klaus Meine left me speechless. I played that song over and over till I finally learned the lyrics by heart. I couldn’t interpret the words but I just knew how honest they were. I had the chance to witness the song materialize on stage during their 50th anniversary tour and I will never forget that magical experience…
Def Leppard
It was basically do or die for Dokken after the minimal success of their 1983 NWOBHM debut, “Breaking the Chains”. The label barely agreed to give them a second chance but thank God they did, otherwise this brilliant smoking-hot second release, titled “Tooth and Nail” would’ve never happened. The band’s crave for success and recognition are quite obvious on this record, hence the title.
rather unfulfilling start of the album, “Tooth and Nail” still impressed fans and critics with unique qualities, such as mean guitar solos (courtesy of George Lynch, of course), memorable vocals (thanks to Don Dokken) and a fantastic hard rock (but not too hard) atmosphere. The most important song on “Tooth and Nail” has to be the power ballad “Alone Again” which actually became the reason why Dokken’s name finally reached the surface. The playful “Just got Lucky”, the intense “Into the Fire” and of course that rough and dangerous Judas Priest sounding title song “Tooth and Nail” are some of the others worthy rockers you can find on this album. Overall, “Tooth and Nail” turned out to be а perfect mixture of heavy/speed metal and pop rock (getting more towards the heavy metal). I cannot put Dokken or this album in a category with other “hair metal” bands like Winger or Motley Crue despite popular opinion. If you are looking for something that goes beyond the lighter pop (hair) ‘80s metal, make sure you check out “Tooth and Nail”.
1992 was a marvelous year for rock music, if the last one to be perfectly honest. Grunge was knocking on the door and fans were letting it at the expense of hard rock. Firehouse was one of those bands that got the boot way too early. Imagine if they released their strong self-titled debut album and their even stronger sophomore album in the early ‘80s…!?
Many people refer to Cinderella’s “Long Cold Winter” as their finest release and they are probably right. I couldn’t let go of my adoration for “Night Songs” but “Long Cold Winter” is a more than a worthy successor in my book. Cinderella made a little shift from a signature glam metal to more blues-oriented rock, reflecting Tom Keifer’s influences and childhood adoration for the blues.
Giant’s sophomore album, “Time to Burn” became reality in the early spring of 1992. The follow-up to their successful 1989 debut, “Last of the Runaways” didn’t get the attention it deserved, despite the band’s obvious musical growth. From the fiery opening track “Thunder and Lightning” to one of the most emotional power ballads of all time – “Lost in Paradise”, the whole album showcased Giant as everything but your ordinary AOR band. With his beautiful voice, Dann Huff brought so much color to the spring of 1992. “Thunder and Lighting” and “Stay” are some of the other gems from “Time to Burn” which received some considerable time on the classic rock radio stations. Overall, this album remains highly underrated, despite being one of the best sophomore releases and one of the finest releases of 1992, in my opinion. It took Giant 9 years to come back with “III”, which is also worthy of checking out by the way.
This right here has to be one of the most special sophomore releases in my book of rock. ASIA debuted in 1982 with a monstrous self-titled album which not only celebrated the perfect music partnership of legends Steve Howe, Carl Palmer, Geoff Downes and John Wetton but also became one of the essential AOR albums that ruled the 80s. With radio-friendly classics like “Heat of the Moment”, “Sole Survivor” and “Time Again”, the album was destined for commercial success. One year later, however, ASIA released a worthy sophomore album, titled “Alpha”, which in its own way became a valuable ‘80s classic. The second date with ASIA was definitely less tense and more familiar, more sensitive even. Unfortunately, “Alpha” couldn’t meet the industry’s expectation and despite its platinum status, critics often refer to it as somewhat a failure. Sadly, this album turned into one of the most underrated ‘80s rock records of all time, despite the wonderful playlist it offers. “Alpha” may not be as strong or as important as “Asia” but it still holds a place in our heart and once you hear songs such as “Don’t Cry”, “The Smile Has Left Your Eyes” or The Beach Boys sounding “Open Your Eyes”, you will most certainly fall under the magic of the album. There are great and good songs on this record, but the level doesn’t go below that. The album is a festival of romance, under a sky of gorgeous lyrics and touching music. I often referred to “The Smile Has Left Your Eyes” as one of the most beautifully written ballads of all time, for instance. 
It’s a mission impossible to try and top Boston’s 1976 self-titled debut album. That groundbreaking release, featuring the classics “Peace of Mind” and “More Than a Feeling” is the ultimate classic rock staple and the greatest milestone in Boston’s career. Nevertheless, the 1978 follow-up, “Don’t Look Back“ is definitely not an album to ignore. I will skip the comparisons with that enormous first release, though they seem to be inevitable when we talk about Boston. Instead, I will jump right into the music talks to remind people that Boston DO have other great albums other than their debut.
In 1987, the British-American AOR/Melodic rock band Strangeways released arguably their finest work, titled “Native Sons”. The follow-up to their respectable 1984 eponymous debut also proved that the right singer can make all the difference in the world. Original vocalist Tony Liddell was replaced with Terry Brock – a renowned back-up singer for some of the biggest names of the era, including Foreigner and Journey. What followed after he stepped in as the new frontman, could easily be described as pure musical magic. “Native Sons” is a brilliant melodic rock record that guarantees you nothing but delight and feelings of great pleasure. The album carries all the best genre elements of the era, including colourful keyboards, splendid guitar playing and glittering hooks. Add Terry’s powerful vocals, the edgy hard-rock vibe and the A-level songwriting and you end up with a melodic treasure that could effortlessly stand on its own two feet against the big AOR titles of the late ‘80s.![doublevision]](https://thatmixtapewillrock.files.wordpress.com/2017/04/doublevision.jpg?w=279&h=279)
I will be very brief with this one because when we talk about Foreigner and this album in particular, no words are needed. After their highly influential 1977 debut, arena rockers Foreigner came back with what is often referred to as one of the finest albums of the genre and one of Foreigner’s best, most critically-acclaimed works. We can undoubtedly conclude that they did wrap up the ‘70s with quite the style, setting up the mood for the changes that were about to come in the ‘80s.
Last but not least, I just had to include Cream’s finest, most precious work of art, titled “Disraeli Gears”. Not only did this album introduced the holy trio of Eric Clapton, Ginger Baker and Jack Bruce to the American audiences but it also showcased how a band can achieve success if only they dare to dig deeper and fearlessly experiment with their music. “Disraeli Gears” showcased the band’s shifting interest from blues, to psychedelic rock. Moreover, it was on this album that Eric Clapton perfected his guitar skills and cemented his position as one of the finest guitarists of his time.
“Screwed, Blued & Tattooed” is one of those albums which I say are “worth discovering” and definitely one of the exciting releases of the early 90s. From the opening powerful slap – “Rock in the Western World” to the playful wrap up song “Girls Girls, Nasty Nasty”, the album is one hell of an entertaining piece of hard rock music! Don’t get me wrong, the album is far from perfect or groundbreaking but with lively and highly amusing tracks like “House is on Fire”, “Damned If We Do, Damned If We Don’t” and of course the title song, I feel like I can totally forgive and forget. “Stranger Than Paradise” is unquestionably the finest moment on the album and definitely a song that had the potential to stand against any Bon Jovi, Winger, Great White or Poison song. After a couple of tracks, we finally get to the power ballad – “This Time”. It’s as good as any power ballad of the era, that’s all I have to say. If you are a power ballad enthusiast like me, then you will love it for sure! Check out the rest of the songs – “Heroes Die Young” and “Don’t Talk About Roses” are striking highly deserving rockers as well!
MY ROCK MIXTAPES 