DURING THE LATE seventies and early eighties the American rock scene was bursting with deliciously ambitious talent, none more so than New York based quintet Touch. Led by Mark Mangold, a veteran of the scene, the band locked into a style of melodic hard rock music that would eventually father multi platinum artists such as Bon Jovi, Nightranger, Survivor and ? Focusing on supremely crafted songs with huge hooks, luscious vocals and razor sharp arrangements, the bands debut album immediately struck a chord with fans and critics alike.

With such rich talent on display it was hardly surprising to find that the band courted by some of the biggest powers in the industry including Deep Purple manager Bruce Payne, and Atlantic Records sister label Atco, with whom the band eventually signed in 1980. Produced by renowned English producer Tim Friese Greene, the Touch album caused a sensation amongst fans of the genre being hailed as in instant classic and a record that would go on to become a touchstone for AOR in general.

Sadly, unlike their contemporaries, Touch never received the commercial acclaim that their music undoubtedly deserved. Despite this, however, the Touch legacy continues to endure to this very day.

Track listing: ‘Don’t You Know What Love Is’, ‘When The Spirit Moves You’, ‘Love Don’t Fail Me’, ‘Black Star’, ‘There’s A Light’, ‘So High’, ‘Last Chance For Love’, Yes (You Need To Rock M’ Roll)’, ‘Listen (Can You Fell It)’. BONUS TRACKS: ‘My Life Depends On You’, ‘Don’t You Know What Love Is’ (Live at Donington, 1980).

As the composer of numerous world wide smashes whose roll call of success includes songs performed by a plethora of top international talent from Bon Jovi (‘Livin On A Prayer’), Kiss (‘I Was made For Lovin’ You’), Aerosmith (‘Dude (Looks Like A Lady’), Alice Cooper (‘Poison’), Joan Jett (‘I Hate Myself For Lovin’ You’) to Ricky Martin ‘(‘Livin’ La Vida Loca’) and many more in between, Desmond Child’s influence on contemporary music is all encompassing and hugely influential.

But it wasn’t always that way. Back in 1977 Desmond was just another struggling New York City based performer/songwriter trying to catch a break in a business whose bedside manners left a lot to be desired. As the architect of Desmond Child And Rouge his vision was, even for the time, wildly on the theatrical side. Featuring no less than three female lead vocalists – that’s Maria Vidal, Myriam Valle & Diana Grasselli – and a style that could best be described as both flamboyant and beguiling, the band recorded two critically lauded but commercially rather unsuccessful studio albums.

‘Runners In the Night’ is generally regarded as the troupe’s piece de résistance, a record full of delightful twists and turns with a forceful melodic rock quotient that has been recognised as one of the genre’s most ambitious and impressive creations. Make no mistake, this is one of the best, if unheralded, AOR releases of all time.

Track listing: ‘The Truth Comes Out’, ‘My Heart’s On Fire’, ‘The Night Was Not’, ‘Goodbye Baby’, ‘Runners In The Night’, ‘Tumble In The Night’, ‘Scared To Live’, ‘A Feelin’ Like This’, ‘Imitation Of Love’, ‘Rosa’.

WHEN HUGELY popular hard rockers Mr Big’s single ‘To Be With You’ shot to #1 in the American charts in 1992 most assumed that it was an overnight rags to riches story.

For Eric Martin, the road to success had, in many respects, been long and frustrating. Based in San Francisco and managed by Journey Svengali Herbie Herbert, Martin’s career had long been big on promise but low on results. Amongst the critical cognoscenti, however, his reputation as one of the world’s best vocalists was always in the ascendant with praise never far from sight and always gushing.

‘I’m Only Fooling Myself’, his second solo album, originally issued in 1987, is a work of sublime perfection. It is an album that fully supports the notion that Eric Martin is blessed with one of the world’s greatest voices. In addition, the choice of material is truly astounding with song writing contributions from such impressive names as Nicky Chin, Paul Gurvitz, Simon Climie, Rob Fisher, Billy Steinberg, Tom Kelly, Dan Hartman and Myles Hunter to name but just a few.

Truly one of the greatest AOR albums of all time from unquestionably one of the world’s most revered vocalists.

Track listing: ‘These Are The Good Times’, ‘If You Believe Me’, ‘Everytime I Think Of You’, ‘I Can’t Relax’, ‘I’m Only Fooling Myself’, ‘Confess’, ‘Unfinished Business’, ‘Crazy World Like This’, ‘This Is Serious’, Gonna Make A Lover Out Of You’.

Molly Hatchet, from Jacksonville, Florida, were one of the biggest and best of the ‘new wave’ of Southern rock bands. Their self titled debut album was issued in 1978 and confounded the critics by selling over a million copies, making them one of the most popular live attractions in the US. And, as if to prove that it wasn’t a fluke, their follow-up album, ‘Flirtin’ With Disaster’, continued the success, selling double platinum and lodging itself in the top twenty album chart.

So, when original lead vocalist Danny Joe Brown opted to leave the band in 1980 and pursue a solo career, many thought that Hatchet’s days would be numbered. Amazingly nothing could’ve beeen further from the truth. With the appointment of new front man Jimmy Farrar they crafted yet another classic slice of southern fried rock, the prophetically titled, ‘Beatin’ The Odds’, which became yet another platinum success story.

Like its predecessors, ‘Beatin’ The Odds’ is another masterpiece of loud and proud southern rock, with guitars a blazing and guns a firing. New boy Jimmy Farrar fitted the role like he was born for the job, whilst the triple lead guitar work of Duane Rolland, Steve Holland and Dave Hlubek would give even Skynyrd a run for their money. Unquestionably this is a southern rock classic.”

24-bit remastering from original source tapes, 4 bonus tracks, 4,000 word story of the making of the album by Malcome Dome, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track listing: ‘Beatin’ The Odds’, ‘Double Talker’, ‘The Rambler’, ‘Sailor’, ‘Dead And Gone’, ‘Few And Far Between’, ‘Penthouse Pauper’, ‘Get Her back’, ‘Poison Pen’. BONUS TRACKS: ‘Beatin’ The Odds’ (Live 1981), ‘Few And Far Between (Live 1981), ‘Penthouse Pauper’ (Live 1981), ‘Dead And Gone’ (Live 1981)

DURING THE 1970’s, the glorious Sunshine State of Georgia had been a fertile breeding ground for home grown Southern Rock, nurturing, amongst others, the Allman Brothers Band, Grinderswitch and the Atlanta Rhythm Section. Doc Holliday, although not universally as well known as those big selling, stubble sporting whiskey soaked troubadours, were an important and highly valued addition to that linage of respected and revered musicians.

Developing a reputation as one of the hottest acts on what was affectionately termed the chittlin’ club circuit Doc Holliday - or Roundhouse as they were then known - eventually captured the ears of various power players in the record business. Wined and dined by cigar chomping executives at A&M Records they were eventually signed to a major contract in 1980.

Introduced to renowned English record producer ‘Colonel’ Tom Allom (Judas Priest, Strawbs, Nantucket) the coupling appeared an unlikely marriage, but the natural  bonhomie of both parties proved hugely infectious, helping to create one of the most impressive debut albums from a Southern Rock band since the early days of the Allman Brothers Band and Lynyrd Skynyrd.

24-bit remastering from original source tapes, 2 bonus tracks, 4,000 word story of the making of the album by Derek Oliver, previously unpublished photos, all spread out over a super 16 page full colour booklet.

Track listing: ‘Ain’t No Fool’, ‘Moonshine Runner’, ‘Magic Midnight’, ‘A Good Woman’s Hard To Find’, ‘Round And Round’, ‘Keep On Running’, ‘Never Another Night’, ‘The Way You Do’, ‘Somebody Help Me’, ‘I’m A Rocker’. Bonus Tracks: ‘Bad Love’ (Roundhouse Demo), ‘Crazy’ (Roundhouse Demo).

THE SOUTHERN Rock hall of fame is decorated with some of the finest voices in the music business; Ronnie Van Zant and Gregg Allman being two fine examples. Equally as impressive is the immediate and identifiable rasp of Danny Joe Brown, erstwhile vocalist for Jacksonville based multi platinum rockers Molly Hatchet. Helmed by Brown, Hatchet rocketed to success and then, just as they looked like consolidating their burgeoning superstar status, Danny quit.

Opting to call his own shots he set about forming the Danny Joe Brown Band, which like Hatchet featured a three guitar army, including childhood friend Bobby Ingram. Snapped up by Epic Records, the band we’re seconded at the world famous Compass Point studios in Nassau, with veteran English producer Glynn Johns (The Faces, The Who, The Eagles, Rolling Stones etc) recording their debut album.

The ‘DJB’ album is about as good a Southern Rock record as you will ever hear. With impassioned vocals and copious lead guitar playing, the songs are superior examples of a much maligned and now largely defunct genre. Indeed, it houses two of the movement’s greatest signature tracks; ‘The Alamo’ and ‘Edge Of Sundown’, the latter contains an extended guitar showdown in the finest Southern Rock tradition.

24-bit remastering from original source tapes, 4,000 word story of the making of the album written by Malcolm Dome, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track listing: ‘Sundance’, ‘Nobody Walks On me’, ‘The Alamo’, ‘Two Days Home’, ‘Edge Of Sundown’, ‘Beggar Man’, ‘Run For Your Life’, ‘Hear My Song’, ‘Gambler’s Dream’, ‘Hit The Road’.

These days Michael Bolton is synonymous with easy listening and a super slick middle of the road sound, but there was a time, not so long ago, when his mandate was far more in your face. During the mid eighties, Michael Bolton was at the forefront of the burgeoning melodic hard rock brigade rubbing shoulders (and most often leaving them in the dust) with contemporaries such as Bryan Adams, Billy Squier and Jon Bon Jovi to name but just a few.

‘Eveybody’s Crazy’, originally released in 1985, has been recognised as one of the greatest albums of its kind, a record so full of melodic rock goodness that it seems entirely implausible that it didn’t propel him to fame and fortune on the spot. Sadly and utterly inexplicably the album failed to make any commercial impact, forcing him to re-evaluate his musical horizons which, of course, resulted in a massively successful string of hit albums but in an entirely different and far more relaxed style.

With musical support from the cream of the New York session world including Kiss guitarist Bruce Kulick, Rainbow drummer Chuck Burgi, keyboardist Mark Mangold and various members of Kansas, Foreigner and Balance,  ‘Everybody’s Crazy’ remains one of the most essential, if criminally ignored, AOR release of the eighties.

24-bit remastering from original source tapes, 3,000 word story of the making of the album, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track list: ‘Save Our Love’, ‘Everybody’s Crazy’, ‘Can’t Turn It Off’, ‘Call My Name’, ‘Everytime’, ‘Desperate Heart’, ‘Start Breaking My Heart’, ‘You Don’t Want Me Bad Enough’, ‘Don’t Tell Me It’s Over’

Fronted, with a marvellous sense of style, by golden voiced Leigh Matty and supported by a team of grade-A band members, Romeo’s Daughter blazed a path - with impassioned vocals, great production and songs to die for - through the melodic rock hinterlands during the late eighties collapsing in an exhausted heap at the finishing line.

Produced by the legendary Robert ‘Mutt’ Lange and songwriter/performer John Parr, two of the hottest names in the business, and signed to the emerging powerhouse of Jive Records, the odds were stacked very much in Romeo’s Daughter’s favour. Sadly, despite lashings of great press, radio play and an exploratory trip to the US market, the promise was never fully realised.

Originally issued in 1989, the album courted instant critical praise not only for its quality and sophistication but also for the way it bought melodic British rock back into sharp focus after years spent in the doldrums. Compared with such mega luminaries as Heart and Def Leppard this album should have sold millions and propelled them to fame and fortune. Instead, we have been left with a rare example of one of the most complete and criminally overlooked albums of the late 80’s.

24-bit remastering from original source tapes, 3 bonus tracks, 4,000 word story of the making of the album, previously unpublished photos, all spread out over a super 16 page full colour booklet.

Track list: ‘Heaven In The Backseat’, ‘Don’t Break My Heart’,'I Cry Myself To Sleep At Night’, ‘Wild Child’, ‘Hymn (Look Through Golden Eyes)’, ‘Velvet Tongue’, ‘Stay With Me Tonight’, ‘Inside Out’, I like What I See’, ‘Colour You A Smile’

Bonus tracks: ‘Heaven In The Backseat’ (live), ‘Velvet Tongue’ (live), ‘I cry Myself To Sleep At Night’ (live)

Arguably the greatest asset of the seventies was its ability to nurture a kaleidoscope of sounds and styles many of which would eventually collide and mutate into a number of spin-off genres. The emergence of funk-rock was a major diversion during these years with acts like Sly & The Family Stone, Earth Wind & Fire and the Isley Brothers lacing urban funk with elements of rock. Make that H.E.A.V.Y rock.

Mother’s Finest, a multi racial unit, originated from Macon, Georgia during the early seventies and learned their trade playing the same clubs and concert halls as their ‘white’ southern rock counterparts. In many respects it was baptism by fire but the bands impressive ability to connect with audiences won them a respect that few could ignore.

‘Discovered’ by renowned hard rock producer Tom Werman (Cheap Trick, Ted Nugent, Motley Crue) who signed them to Epic Records and fronted by the amazing Joyce ‘Baby Jean’ Kennedy, Mother’s Finest delivered in 1976 one of the eras most astounding albums. Fusing gritty funk with an explosive hard rock underbelly, the band was instantly praised as a welcome amalgam of Led Zeppelin and Sly & The Family Stone.
 
With guitar hero Moses Mo unleashing some of the heaviest riffs laid to tape, the album became a critic’s favourite allowing the band to hit the road in a firestorm of power and passion supporting just about every major act of the day including Kiss, Aerosmith, Ted Nugent, the Who, AC/DC and Lynyrd Skynyrd to name just a few.

24-bit remastering from original source tapes, 2 bonus tracks, 4,000 word story of the making of the album, previously unpublished photos, all spread out over a super 16 page full colour booklet.

Track List: ‘Fire’, ‘Give You All The Love (Inside Of Me), ‘Niggizz Can’t Sang Rock & Roll’, ‘My Baby’, ‘Fly With Me (Feel The Love)’, ‘Dontcha Wanna Love Me’, ‘Rain’.

Bonus Tracks: ‘My Baby’ (Live, Europe 1979), ‘Rain’ (Live, Europe 1979).

THERE MUST be something in the Canadian water that makes virtually every act from those parts sound special; and Toronto-based four-piece Reckless were no exception to that rule, brandishing a righteous and downright lethal brand of melodic hard rock that was both ready with the riffs and handy with the hooks.

Led by guitarist/composer Steve Madden and vocalist Jan Melanson (an item while this record was being recorded), the band’s roots lay in the sophisticated yet raw pop rock of ’70s outfits such as the Sweet, Cheap Trick and Blondie, but with an altogether heavier edge, reflecting a scene shift in metal dynamics that was beginning to take place the world over. For Reckless, the focus was always on thrusting razor-sharp guitar riffs shadowed by some decidedly un-ladylike female vocals.

Ignored by record labels in their native Canada, the group was eventually signed by EMI in Europe, who issued this ’79 debut – produced by Paul Gross (Saga) at Phase One Studios in Toronto – to great critical acclaim, especially in the UK, where magazines such as Sounds and later Kerrang! were quick to fly the flag.
Sadly, however, the long distance relationship with their label meant that progress was slow, and despite the help and support of some high-profile peers, plus a few influential rock scribes (take a bow Paul Suter!), the band’s tenure was short-lived.

Happily, Madden and Reckless would live to fight another day, but it is for this album that the group will forever be remembered – perhaps one of the greatest (unheralded) melodic hard rock releases of the late-’70s. A record with ferocious intent and silky precision. They definitely don’t make them like this any more…

24-bit remastering from original source tapes, 3 bonus tracks, 4,000 word story of the making of the album, previously unpublished photos, all spread out over a super 16 page full colour booklet.

Track Listing: 1. ‘Victim Of Time’,'Givin’ It All Away’,'Ready For Action’,'Heartache Rock And Roll’, ‘Too Much To Bear’, ‘Reckless’, ‘Child Of The Night’, ‘All Night Woman’, ‘Could This Be Love?’, ‘Yesterday’s News’, ‘Passion & Pain’, ‘Searching For A Dream’.

Bonus Tracks: ‘Can’t Loose Anymore (Unreleased demo)’, ‘Midnight Reign (Unreleased demo)’, ‘Tonight Tonight (Unreleased demo)’.

The music business is littered with those that should have, could have and would have made it. For Midlands based band Money, the story was a familiar one; a highly talented unit, formed amidst a musical climate that was more concerned with punk and new wave than hard rock yet still managing to earn plaudits and praise despite their ill-timed presence.

And then, just when the tide appeared to be turning in favour of heavy rock via the emergence of the NWOBHM, championed by Sounds magazine’s Geoff Barton, Money were perceived as a band riding the coat tails of the movement rather than taking a place on its frontline. Sadly, they fell between two stools, a position which they never quite managed to improve, forever dubbed as NWOBHM nearly men.
 
Despite this lack of good fortune the band did however attract the attention of UK independent label Gull Records, home at the time to none other than Judas Priest, who astutely paired them with fast rising production maestro Chris Tsangarides, a man who would later go on to work with Priest, Gary Moore, Y&T and Ozzy Osbourne.

‘First Investment’ was uniformly praised by fans and critics for being a brave, forward thinking work encompassing a variety of influences (Led Zeppelin, Queen and Sparks have been rightly mentioned) that should have catapulted them to major acclaim. Sadly, despite a ground swell of grass roots support, a lack of major management, no agent and few touring opportunities meant that the band were always playing catch up rather than leading the charge.
However, their lack of commercial success has failed to dim the bands brief but bright appearance on record with ‘First Investment’ consistently hailed as a hidden British hard rock classic. Truly, one of the era’s most highly regarded obscurities.

24-bit remastering from original source tapes, 4,000 word story of the making of the album, previously unpublished photos, all spread out over a super 16 page full colour booklet.

Track Listing: ‘Mari-Anna’, ‘Leo The Jester’, ‘(Aren’t We All) Searching’, ‘Geneva’, ‘Cosmic Lullaby’, ‘Opening Night’, ‘Finale’, ‘Statements And Demands’, ‘Remembering (MGO)’, ‘Goddess’.

Bonus Track: ‘Where Have All The Dancers Gone?’

THE MID-’80s were an interesting time for rock‘n’roll. The charts may have been filled with quasi-electronic pop, but in the streets & gutters a revolution of sorts was bubblin’ away. The US West Coast had chipped in hard with Motley Crue, Guns n’ Roses and more, whilst the UK was struttin’ its stuff with The Cult, Rogue Male and… Zodiac Mindwarp!

The brainchild of Mark Manning, former music mag designer and professional raconteur, Zodiac Mindwarp And The Love Reaction (to give the project its full & glorious title) was brought into being with a single aim in mind; to live the sex, drugs & rock‘n’roll dream like there was no tomorrow. An intoxicating idea certainly, and for a while it looked as though frontman Zody and his band of rapscallions might just have the cheek (and the choruses) to pull it off…

‘Tattooed Beat Messiah’ – originally released in March 1988 – appeared on the back of mainstream media coverage and singles chart success. Packed full of late-night riffs (courtesy of the wonderfully monickered Cobalt Stargazer and his ‘Sleazegrinder’ guitar), lowdown grooves, cantankerous lyrics and a swagger that suggested they’d been working the circuit for years rather than months, the critics knelt and kissed the feet of rock‘n’roll’s latest travelling freakshow.

Of course, the shelf-life was to be limited, but in a way that made it all the more exciting. A forbidden fruit destined to ripen quickly on the bough. Buckle up and enjoy the ride once more…

24-bit remastering from original source tapes, 4,000 word story of the making of the album, previously unpublished photos, all spread out over a super 16 page full colour booklet.

Track listing: ‘Prime Mover’. ‘Skull Spark Joker’, ‘Backseat Education’, ‘Bad Girl City’, ‘Untamed Stare’, ‘Tattooed Beat Messiah’, ‘Let’s Break The Law’, ‘Spasm Gang’, ‘Driving On Holy Gasoline’, ‘Planet Girl’, ‘Kid’s Stuff’, ‘Messianic Reprise’

Bonus tracks: ‘Laughing In The Face Of Death’, ‘Hangover From Hell’, ‘Mess With The Killer’,'Whore Of Babylon’, ‘Lager Woman From Hell’, ‘Messin’ With My Best Friend’s Girl’, ‘Dog Face Driver’, ‘Born To Be Wild’, ‘Go Go Baby Dream Show’