WINO – Forever Gone

WINO – Forever Gone
Ripple Music
Release Date: 26/06/2020
Running Time: 46 mins
Review by Alun Jones
8/10

Who remembers that old TV programme, The Fall Guy? You know, the one where the Six Million Dollar Man becomes a stuntman/bounty hunter, getting into all kinds of daredevil scrapes whilst pursuing the bad guys? At the end of every episode, old Lee Majors (for it was he) would be seen chilling in his backyard hot tub, mulling over events whilst drinking a cold beer and smoking a big, fat cigar.

Well let it be known that I, too, like to relax in the tub with a beer after a long, hard day of whatever-the-fuck-it-is-I-do. None of your business, really. Just take it from me, I need to unwind in a mass of bubble bath, with candles and refreshment. And of course, some music, just to add to the ambience.

This might not sound very metal to you, but let me tell ya: this new album from doom metal originator Scott “Wino” Weinrich would make ideal tunes for chilling in the tub. Or pondering lost loves and fortunes in a dusty bar. Or sound tracking a lonely drive across the desert, escaping an inevitable encounter. But to be honest, I like the bathtub metaphor best, ‘cos I’ve not used it before.

‘Forever Gone’ is stripped down and intimate; the title song itself is just Wino the man, plus acoustic guitar. Beautifully melancholic, the listener can really get lost in this. ‘Taken’ also ploughs a lonesome path, with Wino’s voice revealing a soulfulness that I’d never appreciated before.

For any fans of The Obsessed or Saint Vitus who were hoping for something louder and more aggressive, there’s not too much of a leap from familiar ground really. Other than the sonics, the emotions of loss and despair are what unifies Wino’s other output to this endeavour. ‘Dark Ravine’ brings a more Americana style to the proceedings, but it’s all still intense as hell, whether the guitars are turned right up or not.

It’s not all gloom, though: ‘You’re So Fine’ introduces a laid back, country blues number that sounds almost boogie-ish. Throw in a great cover of Joy Division’s ‘Isolation’ and this is an album that’s certainly full of surprises.

Great music can create images in your head for your own movie; “Forever Gone” is one of those. Melodic yet mournful, intense and introspective, there are dozens of stories to be told within the grooves of this record.

TRACKLISTING:
01. Forever Gone
02. Taken
03. The Song’s at the Bottom of the Bottle
04. No Wrong
05. Dark Ravine
06. Dead Yesterday
07. You’re So Fine
08. Crystal Madonna
09. Lavender and Sage
010. Was Is and Shall Be
11. Isolation

LINKS:
www.facebook.com/ScottWeinrich/
www.twitter.com/scottweinrich
www.scottwinoweinrich.bandcamp.com/
www.open.spotify.com/artist/6vP6pVpKHwEFO4wX9eT4cv

www.ripple-music.com/
www.facebook.com/theripplemusic/
www.ripplemusic.bandcamp.com/
www.en.ripple.spkr.media/

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Johnny Gioeli- One Voice

One Voice Cover

Johnny Gioeli- One Voice
Frontiers Music
Running Time: 40:25
Release Date 07/12/2018
Review by Tsarina Wilson
8.5/10

On hearing the first track of “One Voice” I thought I had pressed play on a Jon Bon Jovi track by accident. I checked but it was definitely Johnny Gioeli, so I carried on and just had to listen to it all.

Johnny has been around the music industry for a few years (25 I think, sorry Johnny) but his sound is so fresh and new-sounding. Johnny has been in Hardline, Crush 40 and played with Axel Rudi Pell but he decided it was now time to do something on his own.

Ok, he is not totally on his own as his band consists of himself on vocals, Eric Gadrix on guitars, Nik Mazzucconi on bass, Marco Di Salvia on drums and Alessandro Del Vecchio on keyboards. But Johnny woke up one day and thought “I just wanna do this, I’ve always been so faithful to the groups I’m in and I remain that way, but I just thought it was time to do something on my own and see how it goes, for the creativity and the freedom to express myself.” “One Voice” is the outcome and we are very grateful he decided to do it.

A big portion of the money raised for this album, through a crowd funding campaign, is going directly to help a young man named Joe Barber. Joe needs help to recover from an accident last year that left him paralyzed, and if I didn’t like Johnny already because of his sound, I like him even more now. I am humbled by this action and he has my total respect.

This whole album has a feelgood factor from the first track to the last. It’s rare you get a whole album that you can dance around to, yet chill to at the same time but this one is that album. It gives you guitar rock with some pop undertones, along with some great melodic rock.

The track ‘Deeper’ is a softer ballad but it still has that rock hint to it and ‘Let Me Know’ has a chorus that you just have to sing along too. Mind you, that’s pretty much the whole album! It has an up-lifting vibe all the way through. Its solid rock songs which Johnny’s voice easily adapts to, from the rockiest tracks to the ballads.

But also, let’s not take anything away from the guys he has with him. They are a great band which compliment him so well. There is a drum beat that has your foot tapping more than once, especially on ‘Hit Me Once, I’ll Hit Ya Twice’ and guitar solos which just melt you! What more could you ask for?

The emotional ride on this album is one that takes you from totally bouncing around to back down to earth with gripping ballads like ‘Price We Pay’, and with lines like “how much is life gonna cost you” it is talking about the fictional lives people live these days, which get you nowhere in the end.

Johnny has an amazing knack of writing catchy songs, whether this is a fast rock track, or a heartfelt ballad and these songs will get stuck in your head. It’s rare that someone is the whole package, to be writing such great tracks and sounding so good singing them too, but this album proves it can be done.

It’s a solid album of pure rock songs, heart-warming lyrics but delivered with a rocky punch. If this is the first solo album I am genuinely hoping there will be more to come.

TRACKLISTING:
1-Drive
2-It
3- One Voice
4-Mind Melt
5-Running
6-Deeper
7-Let Me Know
8-Hit Me Once, Hit Ya Twice
9-Price We Pay
10-Out Of Here
11-Oh Fathers

LINKS:
http://www.facebook.com/JohnnyGioeli
http://www.instagram.com/johnnygioeli

https://www.youtube.com/channel/UCYfSqXOkH2U4eFUqO0h19LQ

 

Disclaimer: This review is solely the property of Tsarina Wilson and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Bob Kulick – Skeletons in the Closet


Skeletons In The Closet Cover

BOB KULICK – SKELETONS IN THE CLOSET
Vanity Music Group
Release Date: 15/09/2017
Running Time: 43:55
Review by Dawn “The Metal Priestess” King
8/10

You must be doing a good job as a review website when someone approaches you to review their latest album, right? But, when that someone is none other than American guitarist and Grammy Award winning record producer, Bob Kulick, you must be doing an awesome job! Well, that’s exactly what happened to us at Ever Metal headquarters and we are honoured to review his latest album ‘Skeletons in The Closet.’

Best known for his studio work with Kiss and his tenure with WASP, Bob was born in Brooklyn, New York, and is the older brother of former Kiss lead guitarist, Bruce Kulick, who, incidentally, was put forward for the job by Bob, himself.

Bob took a chance in 1973 and auditioned for the lead guitar spot in the then-new band, Kiss, but, although he impressed the other members of the band, it was the glitzier, Ace Frehley, who had auditioned directly after him, who was chosen to fill the spot.

Despite this, Bob later played (albeit uncredited) on four Kiss albums: Alive II (he played on three of the five studio tracks on the second side), Unmasked (where he played guitar on the track Naked City), Killers (playing on all four of the new studio tracks) and some minimal work on Creatures of the Night. He also played guitar on Paul Stanley’s 1978 solo album and on his 1989 solo tour.

But his contribution to the music world didn’t stop there. He has also worked with the likes of Motorhead, Meatloaf, Doro, Lou Reed and Tim “Ripper” Owens as well as playing guitar on WASP albums The Crimson Idol and Still Not Black Enough. This, as well as forming his own bands Balance, Skull and Murderer’s Row, have earned him 11 platinum or gold records throughout his career.

So, what of this album? Well, after a career spanning over forty years, this is actually Bob’s first solo album!! Recorded at Vegas View Recordings in Las Vegas, and produced and engineered by Bob himself, along with Bobby Ferrari, this is a collection of five new tracks and five classics from his albums with Skull and Murderer’s Row and features an array of musicians.

For a first solo album it would have been nice for all the tracks to be brand new ones, but I don’t really know much about Bob’s catalogue, so they were all new to me. While this is fine with me, older fans might feel a bit cheated by this.

Despite this, Skeletons in the Closet is a feel-good album, with lots of great rock tracks. The first half of the album consists of the five new tracks, probably the best of these being “London”, which tells the story of Jack the Ripper, and features the vocals of Twisted Sister’s Dee Snider. The only slightly ‘dodgy’ track of these five being the cover of “Goldfinger!” I didn’t really see the point of it and didn’t think it quite worked. I would have much rather seen another track like “London” or opening track “Rich Man”.

As previously mentioned, I don’t know much about Bob’s back catalogue so none of the classic tracks were known to me, but my favourite of these must have been title track “Skeletons in the Closet”. Sounding like it could easily have been pinched from the back catalogue of WASP, it features the vocals of David Glen Eisley, although he could easily be mistaken for Blackie Lawless (who I actually thought was singing at first!)

This album was never going to break any new ground, and I can picture some of the “older” music fans saying that it’s all been done before but even if you buy it simply for Bob’s guitar playing, its more than worth it. I’ve had this in my car for over a week now and I am still not bored with it, each track sounding better the more times I listen to it.

So, if you are a fan of technical music and poetic lyrics then this is not the album for you, but if you like a bit of rock you can listen to loud in your car with the roof down then go and get a copy of this! I loved it and I am sure you will too!

 

TRACK LISTING:

  • Rich Man
  • Not Before You
  • London
  • Goldfinger
  • Player
  • India
  • Skeletons in The Closet
  • Guitar Commandos
  • Eyes of A Stranger

 

SOCIAL MEDIA:

 

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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 review, 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.