EVERY MOTHER’S NIGHTMARE
8 OUT OF 10
RUNNING TIME: 20:31
HIGHVOLMUSIC and Rock N Growl Promotion
Release Date: 06/10/2017
Review by Dawn “The Metal Priestess” King
Despite being a fan of the hair metal/ glam metal era of music (albeit a few years after it actually happened!) Every Mother’s Nightmare only hit my radar when my then brother in law wanted a copy of their album “Deeper Shade of Grey.” I managed to get hold of it and, while doing him a copy of it, did myself one too, and there it sat on my cd shelf, only being played one or two times.
Now, if this album is anything to go by, I missed out on something there! This is the sort of rock that “brings back the feeling that we should probably just drink another beer, kick back and stay a while.”
Formed in the early 1990’s, Every Mother’s Nightmare arrived quickly onto the Memphis rock scene, where they were from, and as word spread about their high-energy live performances, they soon caught the attention of Clive Davis of Arista Records, signing with the label, and they soon became staples on MTV’s Headbangers Ball with their music videos for “Walls Come Down”, “Love Can Make You Blind” and “House of Pain.”
They opened shows for bands such as Cheap Trick and Dream Theater before they started to headline their own shows, drawing in large crowds and selling out venues. Over the years, they have been featured in hundreds of hard rock magazines, both nationally and internationally, and have appeared on many talk shows, such as The Joan Rivers talk show.
After their release of Deeper Shade of Grey in 2002, the band relied purely on their live performances, only releasing an EP called Grind in 2015. But, 2017 saw them make a comeback with their first full length album in 15 years, their sixth album, also called Grind.
The new album consists of eight studio tracks, produced by Justin Rimer at Cross Trax Studios, the five tracks on the original EP plus three brand new studio tracks, plus three new live tracks, recorded from the band’s live performance at Minglewood Hall in Memphis, Tennessee on 21st August 2016. These live tracks were produced by David Cowell at Cleaved Owl Productions, with mastering done by Brad Blackwood at Euphonic Masters.
The album also features some guest musicians in the form of Jim Dandy (The Jim Dandy), who guest vocals on the track Stand Up, Wayne Swinny (Saliva), guest guitarist on Snake and Zach Myers (Shinedown), guest guitarist on the album opener Loco Crazy, a catchy tune with monster guitar riffs and the song that told me this was going to be a great album!
Singer Rick Ruhl is the only surviving original member but has changed his look from the spandex, leather and makeup of the Glam Metal era, to a long-haired country boy dressed in jeans now. But, although the look may have changed, the sound is still the same.
This album has a bluesy, southern hard rock sound to it, with some stonking riffs and fantastic solos. Rick has surrounded himself with some very talented musicians, and this has produced a great southern flavoured rock album, full of great hard rock songs, pure rock tunes and a power ballad that has its own raw edge.
The band know their strength is in their live performances, reflecting this with the inclusion of the three live tracks at the end of the album and it is these live performances that have kept them going through nearly thirty years with just six albums recorded.
I loved this album. It is a feelgood album with some cracking tracks from some very talented guys. I wish I had listened to Every Mother’s Nightmare earlier and I will definitely be checking out that album that’s sitting on my cd shelf gathering dust.
- Loco Crazy
- Upper Hand
- Blown Away
- Sacred Circle
- Days Are Through
- Stand Up
- Swing Again
- Closet Down The Hall (Live)
- Walls Come Down (Live)
- Push (Live)
Disclaimer: This review is solely the property of Dawn “The Metal Priestess” King and Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities