I’m one of those guys that just worshipped the work Donnie Vie did with Enuff Z’nuff. Even now, where I’ve actually hosted shows where Vie was a drug addled embarrassment to the point where I regretted having the name of my radio show tied to his performance, I never stopped appreciating the enormous musical talent that Vie has. I have all those Enuff Z’nuff albums on my IPod and they get regular play in my ears.
As a solo artist, Vie has been spotty though. His songwriting and his choices to prostitute the old Enuff Z’nuff songs as a solo artist really lead me to believe that he wasn’t capable of writing quality music without his musical partner Chip Z’nuff. It’s safe to say that all changes with WRAPPED AROUND MY MIDDLE FINGER. While a lot darker than the happier, party vibe that dominates the back catalog, WRAPPED AROUND MY MIDDLE FINGER proves that Vie can still write tunes with incredible melody and strong hooks. He can still sing to; fusing his own sound with that John Lennon influence that has been the signature of his sound since his moment in the sun in 1989.
There are so many great songs on WRAPPED AROUND MY MIDDLE FINGER. “Rattle On” is a great song that showcases the new Donnie Vie. Gone are the days of “Joni Woni Rides The Pony” silliness; replaced with more real world messages of life like this song. This song reaches for a place we’ve all been – that spot where you want to just settle for the fact that life sucks before someone tells you to snap out of it. While Vie seems to be singing this to a girl, one has to wonder if this isn’t a metaphor to a lesson that’s been thrown at him over the last decade. Whatever the case, this song is a simple singer songwriter dirge that just works on a lot of levels.
As I stated previously, WRAPPED AROUND MY MIDDLE FINGER is a bit darker and emotional than previous Vie efforts. Songs like “No Escape” are as emotionally scarred as Vie has ever decided to go, while other songs like “I Won’t Let You Down” feel almost like desperate cries to a woman; begging her to stay in the wake of previously emotional misfortune in a relationship. Still, while this album has it’s share of dark moments, there’s still some of that patented Enuff Z’nuff songwriting sound that so many fell in love with back in the day. Songs like “Wrapped Around My Middle Finger” are straight forward, fun rockers, while “Lollipop” is punchy and fun.
PITRIFF RATING – 88/100 - Being honest, this is a really pleasant surprise. While Donnie Vie is one of those “sing the phonebook” guys to me, he hasn’t been very good without the framework of Enuff Z’nuff. WRAPPED AROUND MY MIDDLE FINGER is the strongest thing Vie has been involved with in awhile – even more so than the last two Enuff Z’nuff albums he did. I’m glad to see there’s still some gas in his tank!
We all have bands that never made it big but we really liked. If you are really honest about it, those bands generally have a very distinct reason they didn’t make it big. In short, some bands just don’t have that “it” factor. For me, Halloween are one of those bands. I always loved their tunes and thought they were great. Yet, I think I always fully understood why they didn’t make it. When you listen to the bands of their ilk that did break big and compare them to the bands that had pretty much the same impact, it’s very clear. Halloween was much more “Helstar” than they were “King Diamond”. For me, the lesser known certainly had more impact to me.
All this said, Halloween is one of those bands that didn’t make it, and really might want to start thinking about winding down making new music and simply play their annual Halloween gigs for fun. As much as I have liked everything they’ve done to this point, I can’t get past how dull TERRORTORY is. In short, this album is a snore. It’s not bad really, but it’s about as dynamic as a rice cake birthday dinner for a co-worker that you’ve never spoken to. It’s dull, plain and simple.
There are two big issues with TERRORTORY – the production and the vocals. First, the production. While it’s clean sounding, it has a real air of cheapness to it. This is most notable on the drums. I don’t know if it’s on purpose or just a bad mix, but whatever the reason, the drums just don’t sound like a professional kit at all. They are clangy to the point of annoying on “Images Quite Horrible”. This is not to say that the performance from Don Gurrier is bad or anything, but the drum sound itself is distractinglly bad.
Vocalist Brian Thomas, however, doesn’t escape so easily. His vocals are very dull; so much so that it reminds me more off a King Diamond soundcheck than an actual performance. Listening to songs like “Her Ghost Comes Out To Play”, Thomas’ delivery is very flat and subdued. He’s also very, very raw throughout the record, which is strange. It’s not that the band doesn’t have the ability to use a bit of reverb or echo to enhance his sound any, as this same song has an almost tubular echo on the guitars (again, not a very good thing).
PITRIFF RATING – 41/100 - Disappointing release. As a fan of this band, I hoped and expected something a lot stronger than TERRORTORY. Kind of plain and with local band production, TERRORTORY fails to impact much.
I’ve been disappointed with many releases over the years…and this is one of them. Clearly one of my favorites, I expect better from Blaze Bayley. To be clear, I’ve thoroughly enjoyed almost all of his solo material. SILICON MESSIAH is one of those albums that I ensure never leaves my IPod, my phone and whatever other listening device I might use when I leave the house. While I didn’t care for his Iron Maiden stuff (like, well, everyone else), I have always thought it was just a bad fit for his style.
It’s no secret that Bayley came from Wolfsbane before joining Iron Maiden. If this was the material they had heard, he wouldn’t have been considered for the gig. WOLFSBANE SAVE THE WORLD is a cheap, poorly executed and tremendously amateurish album from a guy (and his band) that should have known better.
To be clear, I don’t really like anything about this release. Specifically, the songs are wretchedly bad. Songs like “Teacher” are just terrible. Full of dumb cliches that even .38 Special wouldn’t use in their teacher song, it’s amazing a guy with such musical lineage as Bayley would put his voice to such garbage. Equally bad is the “we want to be punk metal icons” music provided on the very next song, “Buy My Pain”. Not only is the song lame, but Bayley himself sound particularly bad straining for high notes at the end of the song. I get that it’s supposed to be his angst that causes his voice to crack, but the reality is that he just doesn’t sound very good doing it. That’s not to say that it ruins the song though, as it was pretty lame to begin with.
Even the better songs on the disc just wreak of terrible. “Starlight” could have been decent with better production, but isn’t. Drummer Steve “Danger” Ellett must not have realized that his drums were contained in the boxes they came in, as it sounds like he’s hitting cardboard throughout. Guitarist Jason Edwards is pretty sloppy throughout as well as he seemingly strums without discipline toward anything in particular throughout. While their sound is that whole “punkish heavy metal” vibe, that doesn’t always mean you have to play poorly. “Smoke And Red Light” is the epitome of awful; cliched sing-song chorus, Bayley sounding bad, and Edwards sounding like a new guitar player trying to “sound cool”. Oh, and using the word “puke” as your rhyming word in a song is never good. While that song is bad, the low point has to be “Illusion Of Love”, which sounds like a Meat Loaf tune more than that of a metal singer. Horrible.
PITRIFF RATING – 22/100 - I guess you’ve REALLY REALLY got to be a Blaze Bayley fan to dig this one. I am definitely a fan, and I think this blows. It’s already set up for deleting from all my devices, as I don’t even want to accidently hit this trash when set on shuffle. Disappointing to say the least.
It’s definitely a cool day in the rock world when, after almost three decades away, we have a brand new album featuring David Lee Roth and the Van Halen boys! For guys like me (and I’m assuming almost all of you that are in your late 30s to early 50s), most of our lives can be traced back to Van Halen music. From high school parties to joining the Army to going to Korea to going to war, Van Halen was always there in the background to rock when I needed a boost, need a rockin’ groove to bob my head to, or just wanted to pretend I could play guitar on a broomstick or just in the open air. To say the least, I couldn’t wait for this day to come.
I’m the first one to admit that while I like all eras of Van Halen (yes, including the Cherone second), I lean heavily into the Hagar years more than the Dave era. That doesn’t mean that I hated the Dave era though – I just enjoyed the more radio ready, poppy era better. Listening to A DIFFERENT KIND OF TRUTH, the band did accomplish one mission – they recorded an album that once again felt like the early Roth era and not the poppier era. They got that right. Culled from old songs and demos that never made it to release commercially, A DIFFERENT KIND OF TRUTH does feature that old school Van Halen swagger that had dorks like me scribbling the VH logo on our Trapper Keepers in junior high school. The vibe is definitely there.
Sadly though, the talent is not completely intact anymore. A DIFFERENT KIND OF TRUTH has two major flaws to it – one is a giant problem, and the other is not as big, but is persistent and noticeable on every song. The lesser of two evils here is the lack of Michael Anthony in the mix. I’m the first one to admit that Anthony is not a great bassist at all, but his backing vocals are as important to the Van Halen sound as Eddie Van Halen’s guitar tone or Alex Van Halen’s distinct drum sound. Missing from the mix, songs like “China Town” just lack the signature punch without them. As a hardcore fan, I can’t help but think “wow, that would have been better with Michael Anthony singing it.” It is what it is. Like everyone else, I have no idea what went down between the band and Anthony, but they really should have gotten over it to do this reunion right. Hearing Anthony on the Chickenfoot release, his backing vocal sound would have made many of these songs infinitely better.
The second, much larger problem is the diminished capacity of David Lee Roth as a vocalist. All the studio magic in the world was not able to hide the fact that Roth simply has “old lead singer’s disease”. Much like other legendary singers like Brian Johnson of AC/DC and Ozzy Osbourne, Roth still tries to do the same things he used to do but just sounds terrible doing it. Every time he tries to go up for the higher register notes on A DIFFERENT KIND OF TRUTH, he fails and sounds bad…EVERY time. His mid song screams on “Blood and Fire” through the upper register warbling on “Tattoo”, through virtually every song on the disc, Roth just sounds as limited as he did on albums like DLRBAND and YOUR FILTHY LITTLE MOUTH. What’s surprising is that with all the money Van Halen had at their disposal for recording this, a producer couldn’t find a way to get a better recording out of Roth. The truth is probably that this effort, regardless of how weak it is, is probably the best Roth is capable of anymore.
Being honest though, with all the negativity above, I actually like A DIFFERENT KIND OF TRUTH quite a bit. While it’s the worst album of the Roth era, that doesn’t mean that sucks. Even with all the insanity that has followed him for over a decade, there’s no denying that when Eddie Van Halen wants to play guitar, he’s still pretty much untouchable amongst people that play the instrument. He rocks in classic Van Halen style on heavier numbers like “Bullethead” and “As Is”. Everything about Van Halen’s playing here is top notch. It’s razor sharp as you might expect, yet fluid in a way that he and he alone has ever played. His solo from “As Is” is simply a classic exhibition of his now famous finger tapping prowess that long separated his sound from the rest. In short, you listen to just about anything on A DIFFERENT KIND OF TRUTH, and you realize you are listening to Van Halen.
A DIFFERENT KIND OF TRUTH is also surprisingly heavy for Van Halen. The aforementioned “Bullethead” and “As Is” are really strong rockers, as is the seriously metal “Outta Space”. Really, it’s too bad Roth had to sing at all on “Outta Space”, because he sounds particularly bad on that one. Interestingly, the band reached back again in their history and got a little quirky with the absolutely stupid lyrical mess (yet, ultimately most fun song on the disc) “Stay Frosty”. This song is the most interesting on the disc to me; stealing a bit of “Ice Cream Man”, a bit of “Little Guitars” and some of Roth’s always weirdo scatting into it to create a bizarre song that sticks in your head like your hand to your dick if you were masturbating with glue as lube. The song is just a weird song and by far the worst lyrical song in Van Halen history, but I love it nonetheless. When the thick groove kicks in, drummer Alex Van Halen takes over with a simple, yet completely patented Van Halen underbelly that drives the song. As for brother Eddie – his solo here is as stunning as anything he did back in 1978.
PITRIFF RATING – 75/100 - A DIFFERENT KIND OF TRUTH is a fun listen, and Eddie Van Halen is great. The songs are mostly culled from old works, so they really feel like the classic era of Van Halen. There are songs here that remind you heavily of the glory days of this band. There are also big problems with this release that can’t be overlooked. Did I mention that Eddie Van Halen is great on this? Definitely not the best Van Halen album you’ll ever hear, but you won’t be repulsed by it either. Stay frosty, people…it’s just cool to have Van Halen back.
Chris Akin
NOTE: I purposely didn’t list the bass playing in this review. Van Halen’s bass player is Michael Anthony in my eyes…no need to review the charity work Daddy gave his boy.
To say the least, Lillian Axe continuing on must just be the mission of guitarist Steve Blaze. Certainly, even he would have to admit that the band has suffered it’s share of setbacks over the last few years. With five years of seemingly a new vocalist fronting the band for each release, it’s just been tough to get continuity as a band for Blaze and company. For THE DAYS BEFORE TOMORROW, they even had to switch albums mid-cycle when former Metal Church vocalist Ronnie Munroe left the band. Still, they have carried on.
XI: THE DAYS BEFORE TOMORROW is a solid effort from Lillian Axe. It’s not an effort that’s going to win the band a lot of new fans, but it won’t scare anyone away either. In short, THE DAYS BEFORE TOMORROW is a fairly standard release from “The Axe”. With the focus once again on a new singer, Brian C. Jones steps in and does an admirable job here. He shines brightest on “Death Comes Tomorrow”; a ballad built to showcase the smooth, strong voice that Jones possesses. Throughout the entire disc, Jones is solid. He’s not an overly dynamic singer by any means, but the music on THE DAYS BEFORE TOMORROW do not call for that.
One thing that’s highly noticable on THE DAYS BEFORE TOMORROW is the fairly standard, unflashy performance from Steve Blaze. While Lillian Axe has never been a virtuoso guitar band, they have always been a heavily guitar oriented band with a very dynamic sound coming from Blaze’s six strings. For whatever reason, that’s not really happening here. Sure, Blaze plays well, but the riffs and leads are just not as sharp and ripping on past efforts. Songs like “Gather Up The Snow” are a prime example. There’s a nice solo and a good crunchy riff throughout the song, but it’s just not powerful and dynamic. This may be a production thing and not a playing thing, but it just feels flat here. That’s far from the normal with Blaze. Faster numbers, like “Caged In”, suffer from this same quality, although this song is somewhat more biting with the leads that are tossed into the mix.
PITRIFF RATING – 70/100 - Being honest, I expected a bit more from Lillian Axe because I’m a big fan of Steve Blaze. This release is solid enough, but far from memorable the way even recent albums like WATERS RISING were. You won’t hate this, but you certainly won’t keep this in heavy rotation in your IPod either.
Unlike most metalheads, I think I’m somewhat sacrilegious when it comes to my non-appreciation of Venom. They are one of two acts that I know are just worshipped in the metal community, but I simply do not get the appeal at all (the other being King Diamond). That being said, I had very little expectation for a new Venom release, and yet, they came though with what is a fairly solid effort.
Is this great, no. But it is Venom doing what they do and yet being a touch stronger than normal for them in my eyes. First and foremost, kudos to them for finally figuring out how to capture their sound in the studio. They have a career of bad recordings behind them, so it’s good to hear them recorded well. Secondly, these songs on FALLEN ANGELS are not the typical Venom dirges of anger and hatred surrounded by lacking musicianship. In short, these songs sound like songs played by professional musicians. Sure, listening to a song like “Beggarman” are still raw and raucous, but they are much tighter than this band usually sounds. The overall sound is a shade different than in the past too, as it sounds like there’s just a touch of a modern flair to the songs found on FALLEN ANGELS. It’s a good quality for them.
Individually – well, it’s Venom. Cronos is still a bad singer/ranter, but his dirges are expected and meet expectations throughout. He croaks it out with vengeance on songs like “Lap Of The Gods”. He also lays down a much more solid, less distorted bassline than ever before on this release. He and drummer Dante create a thick, yet somewhat raw and flattened foundation on songs like “Hail Satanas”. On guitar, La Rage is full of that early punk meets Metal sound that has defined Venom’s career. To listen to him play on songs like “Hammerhead”, it’s clear that he’s not the best player on the planet but knows how to craft his music to what is needed from song to song. Overall, these guys come together and create a decent enough effort from start to finish.
PITRIFF RATING – 68/100 - I’m well aware that this is more of a Cronos solo album than a true Venom album featuring the original guys. To be honest, I don’t care, as I’m not really a fan nor do I have any intention of ever seeing these guys live. That said, if you are into the spirit of Venom or just respect them for their contributions to the history of Metal, then you will probably appreciate this. It’s not great, but it doesn’t suck either. It’s Venom – based on that sentence alone you should be able to judge if you want to purchase it or not.
I get the math. When a major band changes singers, the next guy never gets the respect of the first. If they change again, that guy always gets disrespected greatly. Look no further than the once again popular Van Halen for proof. Anyone want to argue that Gary Cherone was ever given respect in that band? I thought not. In my eyes though, the single most disrespected singer in rock history has to be vocalist Tony Martin. Martin had the distinction of being the guy who replaced Dio in Black Sabbath. You remember – Dio replaced Ozzy, and then Martin replaced Dio. As third guy on the totem pole of Black Sabbath, I would argue that his catalog from start to finish was stronger than the Ozzy era (the whole Ozzy era, not just the first 4 albums). I personally will always reach for an album like HEADLESS CROSS long before something like TECHNICAL ECSTACY. Maybe it’s just me, but I have long respected and sung the praises of the Martin era of Sabbath.
For THE THIRD CAGE, Tony Martin continues his decade long relationship with Italian guitarist Dario Mollo to create some cool, albeit friendlier, hard rock that is enjoyable to listen to. Martin sounds as good as ever vocally, even if the music isn’t the intense type that many remember him doing with Black Sabbath or even on his solo work like SCREAM. The music is much more Journey / Foreigner / Night Ranger like than you might expect. Still, Martin’s powerful pipes power the material here. Songs like “One Of The Few” prove just how strong a singer Martin truly is. This song, which sounds like a cross between the late era pop-rock Scorpions and something Jeff Scott Soto might record, if full of Martin’s flowing vocals and some virtuoso like solo fills and riffs provided by Mollo. For his part, Mollo is a tremendous guitarist. There are times when he heavies things up a bit, like on the thick rocker “Still In Love With You”. Simply, Mollo can play, and showcases a lot of different styles on THE THIRD CAGE.
The lone drawback to this project is that it doesn’t feel hugely organic at all. While I have no idea if this is a project or a band, it definitely feels like a project. It would not surprise me at all if this project was put together via MP3 trading. Again, I have no way to know that as true, but there’s just something lacking here. It just doesn’t feel like they were in the same room, where the energy would have flowed between Mollo and Martin.
PITRIFF RATING – 73/100 – A solid effort from one of the most underrated singers in the business. My hunch is this would sound a lot better performed live as there would be a new vibe to it, but it’s still not too bad.
It seems that all previous pains in the Mr. Big camp have been forgotten. Mr. Big returned last year with a great album, tour, and now a fairly intimate acoustic live album called LIVE FROM THE LIVING ROOM. It’s good to see. This band that was always strong on musicianship might be the band of all bands best suited to do an unplugged set. Not only are their songs very condusive to this kind of setting, but they are so far superior a class of musicians than the average band that attempts to try this. They aren’t hacks like Poison who just sound awkward when performing the songs outside of the defined box of their original recordings.
Not surprisingly, LIVE FROM THE LIVING ROOM was recorded in Japan, where Mr. Big are The Beatles. The crowd is receptive to this intimate setting, as they should be. In short, the performances from all members of the band are exceptional. Vocalist Eric Martin sounds every bit as strong as he ever has, and his voice sounds almost like it does on recorded work. Be it newer songs like “Still Ain’t Enough For Me” or the classic “To Be With You”, Martin’s singing is both engaging and soulful. He’s not the most impressive here though. That award goes to legendary bassist Billy Sheehan and guitarist Paul Gilbert. The two may not be plugged in and loud, but their ability to play is anything but hampered in the stripped down setting. Both sound great throughout, and both play far more than you might expect from a non-electric set. Sheehan himself throws down several solos throughout which is interesting here, while Gilbert plays his acoustic with more of a countrified flavor than his normal rocked up chops allow for. Even on mid-tempo tracks like “As Far As I Can See”, the murmur of Sheehan’s bass just tears through the bottom end of the sound; almost like a lead guitarist might normally provide. He and drummer Pat Torpey do far more than simply keep the beat for Martin and Gilbert. It’s impressive to say the least.
PITRIFF RATING – 88/100 – What can you really say about a Mr. Big acoustic live album? It’s tighter than the average band could ever hope to be musically. The musicians play to perfection. Eric Martin sings perfectly. Their always impressive harmonizing is as stong as it ever was. In short, Mr. Big provide what they always do – something impressive, professional and fun. It works.
It’s funny how this band has continued to survive, even given the fact that so few people can actually name a single song that they’ve ever done. D-A-D is a band that’s most famous for having to change their name from “Disneyland After Dark” after being legally threatened by Mickey Mouse. That said, they had one album that was fairly successful, NO FUEL LEFT FOR THE PILGRIMS, and a long career of localized success in Denmark after it.
Back once again, and still stuck on the whole “Disneyland After Dark” motif, D-A-D do a play on lettering of their former name in their album title DIC..NII.LAN.DAFT.ERD.ARK. They may be stuck in the past with the name, but that doesn’t take away from a very solid rock record from the band. Providing pretty solid hard rock with a stoner metal guitar sound behind it, D-A-D have created a moody, powerful disc that’s well worth listening to.
As has always been the case, D-A-D is lead by the Binzer brothers – Jesper and Jacob. Jesper sings and plays guitar, while Jacob stays with the guitar. Both power most of this material. Songs like “The End” are some of the best work that this band has ever done. The brothers Binzer produce some powerful, fuzzed out riffs that would make any Kyuss fan smile over the top of a musical landscape closer suited to 80s mainstream rock music than traditional stoner metal. I know that’s an odd description, but it works here. Other songs, like “I Want What She’s Got” features a similar formula. The double dose of fuzzy guitar from the Binzer’s works very well, although they are not limited to this sound. They go back to their more alternative guitar sound on songs like ‘Fast On Wheels”; the sound that was most prominent on PILGRIMS. Their strength though lies in the heavier, stoner-like sound though. This is not more evident than on “The Place Of The Heart”; a song who’s riff feels a bit like it was nicked from Black Sabbath’s “Iron Man”. For his part, Jesper Binzer is still as good a singer as he was when this band launched. His voice is still strong, clean and powerful at pushing an emotion to the listener. The band is rounded out by longtime bassist Stig Pedersen and drummer Laust Sonne. Both are solid, yet unflashy as they put down a thick foundation for the Binzer’s to play over top of. In short, D-A-D has created a solid effort as they generally do.
PITRIFF RATING – 84/100 - While this is not the most memorable release you will hear in 2012, it’s not bad on any level. D-A-D have always been one of those “yeah, I remember them” bands that created solid music, and they continue to be now. While the album title will hurt them, the music certainly won’t. Solid stuff. Disneyland After Dark, indeed.
I think to give a fair analysis of my musical taste when it comes to UFO. I am not, on any level, a fan that’s been there from the start of this band. They are OK, but certainly not a band I’ve ever considered to be great by any level. I never really followed them, so the who’s who of the lineup is not of great concern to me like it might be to other fans of the band. Further, I’m definitely not one of those guys that celebrates Michael Schenker as the god of the six strings like so many do. I have all his work, and I’m yet to be really bowled over by anything he’s done. As it relates to UFO, I’m not one of those guys that will immediately dismiss an album with Vinnie Moore on it because it simply doesn’t feature Schenker.
With all that said, we come to SEVEN DEADLY – one of the very worst albums in the UFO catalog. While the last couple of records have been passable without really being overwhelming, SEVEN DEADLY is remarkably drab, dull and surprisingly undynamic album that feels a lot morre like a Vinnie Moore blues rock solo project than anything in UFO’s catalog.
To be fair though, the problem is not Moore. The problems are twofold – the musical direction itself and vocalist Phil Mogg. Having caught the band on one of their recent tours, it’s clear that Mogg has turned more and more into a rock n’ roll vagabond hippie than ever before. He’s all the way there lyrically here. To put it bluntly, much of this album comes off as fairly incoherent rambling from a stoned lunatic. Some of these songs, like “The Fear” really sound like they were put together by writing the last word of every line first so they all rhymed, then going back and filling in the rest of the words so there was something to sing. Add to that the fact that this song is closer musically to Blues Traveler than UFO and you can start to realize the problem here. When they do find it musically, like on “Wonderland”, Mogg again pollutes the song with rantings that just don’t translate to anyone with lucid thought process. He goes on and on about “The Monkey” – whatever that is. I tried to figure it out, thinking it could be anything from a drug addiction to an actual monkey, and none of it makes any sense at all.
Musically, it’s just not there on this release either. I’ve always thought that every heritage band that’s been out for 20 plus years should have to spend a day or two in a room just hanging out and listening back to their entire catalog before ever writing a single note of music. Never has that been more clear than on SEVEN DEADLY. This music has literally nothing to do and/or not a single moment in common with the sound and style UFO built their career on. Songs like “Mojo Town” could easily win you a bar bet trying to get an unsuspecting fan with an MSG shirt on to guess who the band playing was. “This sounds like Phil Mogg, but that’s definitely not UFO” – most probable answer you would get if playing that game with a fan.
PITRIFF RATING – 30/100 – Musically dull and lyrics so bizarre at times they make Lou Reed’s LULU lyrics seem well defined and thought out, SEVEN DEADLY is a disaster of a project. To their credit, UFO is still cranking out new music every few years. To their demise, UFO is still cranking out new music every few years. Sad to say, but this is pretty lame.
Donnie Vie
Halloween
Wolfsbane
Van Halen
Lillian Axe
Venom
Mollo Martin
Mr. Big
D-A-D
