ISSUED IN 1975, Lone Star’s debut album took, what is these days termed, pomp rock by the scruff of the neck and delivered a record that knocked the competition sideways. Produced by famously flamboyant studio wizard Roy Thomas Baker (Queen, Foreigner, Journey) it displayed a sound that utilised everything and the kitchen sink – bombastic and grandiose, no stone was left unturned to achieve maximum sonic effect. Indeed, it was a record that found media cognoscenti such as Alan Freeman, Geoff Barton, Nicky Horne and John Peel falling over themselves to recommend it.

Everything about this record is so right, so impressive and so gigantically over the top that nothing has come close to its grandeur since. Featuring future UFO guitarist Paul Chapman and containing such highfalutin tracks as ‘Flying In The Reel’, ‘Spaceships’, ‘A Million Stars’ and a monster interpretation of the Beatles ‘She Said, She Said’, the album scores a suitably impressive eleven on a ten scale.

24-bit remastering from original source tapes, 5 previously unreleased bonus tracks, 3,500 word essay about the making of the album, interview with the band and additional photos spread out over a 16 page full colour booklet.

TRACK LISTING: 1. SHE SAID, SHE SAID 2. LONELY SOLDIER 3. FLYING IN THE REEL 4. SPACESHIPS 5. A NEW DAY 6. A MILLION STARS 7. ILLUSIONS BONUS TRACKS: 8. FLYING IN THE REEL 9. A MILLION STARS 10. SHE SAID, SHE SAID 11. HYPNOTIC MOVER 12. SPACESHIPS

THE ELECTRIC Angels were, at the time, just another name in the glam rock ring albeit with an intriguing past, having evolved from seminal glam act Candy, an act that sold zilch but turned every hip-head in Los Angeles.

Signed to Atlantic Records and based in New York City, they set about crafting an album, originally released in 1990, produced by none other than Tony Visconti, a master mover and shaker who had previously guided the music of David Bowie and Marc Bolan.

In an effort to soak up the original English glam rock vibe the album was recorded in London and remains a testament to their killer vision; a healthy dose of free-form Mott The Hoople diving head-long into the beer soaked energy of prime time Faces. It was a coup d’etat of the finest order, giving birth to one of the most impressive glam rock albums of the era.

24-bit remastering from original source tapes, 3,500 word essay about the making of the album, interview with the band and additional photos spread out over a 16 page full colour booklet.

TRACK LIST: 1. I Believe 2. Live In The City 3. Rattlesnake Kisses 4. Head Above Water 5. Dangerous Drug 6. True Love And Other Fairy Tales 7. Last Girl On Earth 8. Home Sweet Homicide 9. Cars Crash 10.  All The Money 11. Whiplash 12. The Drinking Song

AN AC/DC connection was crucial to the Angel’s story, in more ways than just musical. It was Bon Scott and Malcolm Young who recommended the band to their record label, Albert Productions, who signed them in 1975. Developing a musical swagger built on the riff hungry shuffle of AC/DC’s finest moments, the band soon carved out a following that sent their domestic releases skyrocketing up the charts. Signing worldwide to Epic Records in 1980, the band’s first foray into the great wide open was ‘Face To Face’, a compilation of the best tracks lifted from two domestic releases.
Sure, the music is brittle and deeply indebted to AC/DC’s uncompromising raucous boogie but the twist in the tale is the band’s lyrical component. Front man Doc Neeson’s hypnotic story telling formed the backbone of a style that caught the imagination and propelled them to success on stages from London to Los Angeles. ‘Face To Face’ remains one of the greatest and most enduring albums of the era.

24-bit remastering from original source tapes, 3,500 word essay about the making of the album, interview with Doc Neeson and additional photos spread out over a 16 page full colour booklet.

TRACK LIST: 1. Take A Long Line  2. Marseilles 3. After The Rain 4. Am I Ever Gonna See Your Face Again? 5. Shadow Boxer 6. Comin’ Down 7. Out Of The Blue  8. Can’t Shake It  9. Waiting For The World 10. No Exit

RECORDED IN England at Jimmy Page’s studio, located on the banks of the River Thames, and produced by Stuart Epps, this album boasts a fine selection of melodic hard rock, with the emphasis on consummate songwriting, exceptional arrangements, exemplary vocals (from Bert Heerink) and, of course, Adrian’s blistering guitar work.

The beauty of this album lies in the quality of the material. Tracks such as ‘Your Love Is In Vain’ and ‘Wait’ sparkle with an electricity that sets the band apart. Of course it’s the power Ballard ‘Burning Heart’ that takes all the honours, a track that reached the top 30 of the Billboard Hot 100 .

With cover artwork designed by Adrian himself, the album, originally released in 1982, is a peach of a record that still cuts right to the chase nearly thirty years later. No wonder David Coverdale invited Adrian to join what would become the most successful version of Whitesnake producing their mega successful ‘1987’ album.

24-bit remastering from original source tapes, 3,500 word essay about the making of the album, interview with Adrian and additional photos spread out over a 12 page full colour booklet.

TRACK LIST: 1. YOUR LOVE IS IN VAIN 2. BACK ON MY FEET 3. WAIT 4. BURNING HEART 5. READY FOR YOU 6. TOO LATE 7. NOTHING TO LOSE 8. LOST IN A CITY 9. OUT IN THE STREETS

CHIEF AMONGST the Blue Oyster Cult’s quota of superiority was songwriter, vocalist and guitarist Buck Dharma, the man responsible for writing their most popular track, the seminal ‘(Don’t Fear) The Reaper’. With time on his hands between B.O.C. albums, Buck set about recording his, so far, only solo album, the sagely titled ‘Flat Out’. Typical of Dharma’s quirky sense of place, the songs and musicianship take no single direction, the contents spewing out like a multitude of strangely compatible styles.

Aided and abetted by a number of grade-A musicians, including members of B.O.C., Foghat and Alice Cooper’s original band, ‘Flat Out’, originally issued in 1982, confounded those who heard it first time around but has since gone on to attain, er, cult appeal to rival the best work of the mothership, with its seasoned vibe that only gets better with both age and familiarity. Truly one of the most revealing and fascinating records to have emerged from the hallowed halls of that mysterious enigma known as the B.O.C.

24-bit remastering from original source tapes, 3,500 word essay about the making of the album, interview with Buck and additional photos spread out over a 16 page full colour booklet.

TRACK LIST: 1. BORN TO ROCK 2. THAT SUMMER NIGHT 3. COLD WIND 4. YOUR LOVING HEART 5. FIVE THIRTY-FIVE 6. WIND WEATHER AND STORM 7. ALL TIED UP 8. ANWAR’S THEME 9. COME SOFTLY TO ME

THE EARLY to mid eighties were a veritable breeding ground for talented singer songwriters of the AOR variety. On the one hand you had the pop rock crunch of Bryan Adams, John Waite and John Parr, whilst on the other you had the more poptastic approach as typified by Billy Squier and Huey Lewis. Of course, up against the big sellers were a plethora of up and comers none more impressive than Stan Bush, with his gritty hooks and good looks.

Bush, a relative new comer to the scene, had previously fronted obscure Mid West outfit Boulder, recording an album for Elektra records, before going solo. Carving out a reputation as a handy songwriter, Bush’s demos secured him a solo deal with the giant Sony label, who figured that they might have the next Rick Springfield on their hands. In many ways they were right but ultimately such success was not forthcoming.

Ushered into the studio, with producer Pat Ryan (Styx), initial sessions amounted to little. Kevin Beamish, famed for his work with REO Speedwagon, interceded, taking over knob twiddling duties. The results, though, were a triumph, allowing Stan the opportunity to deliver one of the most impressive solo albums of the era. With raspy vocals and a backing band consisting of some of the best West Coast sessions players on the scene, it remains one of the best, if largely undiscovered, AOR albums of the era.

24-bit remastering from original source tapes, 3,000 word essay about the making of the album, interview with Stan and additional photos spread out over a 12 page full colour booklet.

TRACK LISTING: 1. IT’S HOT 2. FIRE IN MY HEART 3. CAN’T LIVE WITHOUT LOVE 4. DON’T ACCUSE HER 5. LOVE HAS TAKEN ME AWAY 6. ALL AMERICAN BOY 7. SAY THE WORD 8. TIME ISN’T CHANGING YOU 9. ROUND AND ROUND 10. KEEP YOUR LOVE ALIVE

IN KEEPING with Rock candy’s penchant for exposing great, yet relatively unheralded melodic rock music, we now turn the spotlight on an obscure Los Angeles based five piece named, rather curiously, The Strand. Although the name may not be recognisable, some of the band members will be very familiar to fans of sophisticated melodic rock.

The Strand’s origins can be found in a group called Rural Still Life, the very same group that spawned hugely successful multi Grammy winning West Coast AOR starsToto. In common with Toto the band were also extremely talented players, some having backed Boz Scaggs both live and in the studio. Just like the session players that birthed Toto, they too hatched plans for their own group, quickly securing a deal with Island Records.

Signed personally by Island founder Chris Blackwell (and named by him), the band’s one and only album , originally released in 1980, was produced, not unsurprisingly, by long time friend and colleague, Toto drummer Jeff Porcaro. The results, as you might reasonably expect, are spectacular, boasting killer songs, jaw dropping musicianship and superb arrangements, all bathed in a stellar production. Listen out too for vocalist Rick ‘Moon’ Calhoun, one of the greatest, yet largely overlooked, vocalists of the genre.

24-bit remastering from original source tapes, 3,000 word essay about the making of the album, interview with the band and additional photos spread out over a 12 page full colour booklet.

TRACK LISTING: 1. ROCK IT TONIGHT 2. LONG HOT SUMMER 3. I LIKE IT LIKE THAT 4. JUST A LITTLE MORE TIME 5. PRISONERS IN PARADISE 6. STAY AWAY FROM MY GIRL 7. FRUSTRATION 8. CHILDREN OF THE NIGHT 9. DIRTY LITTLE GIRL 10. CAN’T LOOK BACK

OF All the British melodic rock groups operating out of the UK during the late 1980’s Romeo’s Daughter were, undoubtedly, viewed as the great white hope; they were the saviours of the scene, the band most likely to succeed. And let’s face it they had it all; an astonishing lead vocalist, killer musicianship, superbly crafted songs and a dedicated label. What could go wrong?

Sadly this story didn’t have a fairy tale ending. The band’s debut album was produced by Robert ‘Mutt’ Lange (Def Leppard, Foreigner etc), and received a tidal wave of accolades setting them up for album #2. But in an effort to work with Lange second time around the band put their career on ice, biding time until the great man was once again available. Time, however, waits for no man, and, after enduring a prolonged hiatus, the band ended up label less with little prospect of Lange returning to the fold.

Switching to the independent Music For Nations label, they took the bull by the horns and got back to work crafting a stunning follow up to their critically lauded debut. It is a record stuffed to the gills with choice songs and exceptional vocal performances from Leigh Matty, proving that the band’s worth was just as valuable if not more so. That ‘Delectable’ ultimately failed to secure a foot hold to enormo-dome success was not the fault of the band or record, but more a sign of the times. Yet despite everything it remains one of the most revered albums of the period.

24-bit remastering from original source tapes, one bonus track, 3,000 word essay about the making of the album, interview with the band and additional photos spread out over a 12 page full colour booklet.

TRACK LIST: 1. Have Mercy 2. Attracted To The Animal 3. Nobody Like You 4. Nothing But love 5. God Only Knows 6. Ready Or Not 7. Treat Me Like A Lady 8. Sugar Daddy 9. Dream In Colour 10. Dancing Slow  BONUS TRACK: 11. Talk Dirty To Me

AS ONE of the defining albums of the burgeoning 80s UK AOR scene ‘Native Sons’ is recognised as a classic of the genre, a record that should have turned this relatively unassuming band into household names. Lead vocalist Terry Brock has a voice like an angel with an inate ability to squeeze out the maximum melodic goodness from every track. Coupled with Ian Stewart’s remarkable song writing ability this is a record that connoisseurs of the genre believe easily rivals the best work of Journey, Foreigner and Survivor. Originally issued in 1988, ‘Native Sons’ is a stunning collection of songs and performances that has dated not one jot. It is arguably one of the top 5 AOR albums of all time.

24-bit remastering from original source tapes, two bonus tracks, 3,000 word essay about the making of the album, interview with the band and additional photos spread out over a 12 page full colour booklet.

TRACK LISTING: 1. DANCE WITH SOMEBODY 2. ONLY A FOOL 3. SO FAR AWAY 4. WHERE DO WE GO FROM HERE? 5. GOODNIGHT L.A. 6. EMPTY STREETS 7. STAND UP AND SHOUT 8. SHAKE THE SEVEN9. NEVER GOING TO LOSE IT 10. FACE TO FACE

BONUS TRACKS: 11. STAND UP AND SHOUT / BREAKING DOWN THE BARRIERS (Live)

THE BAND’S previous album ‘Native Sons’ was created in an enormous rush of excitement, but incessant European touring and slow album sales had not generated the expected breakthrough. Despite the lack of progress, a third album was sanctioned, this time with the band self producing (engineered by Def Leppard associate Mike Shipley) and recorded once again in Switzerland.

‘Walk In The Fire’, originally released in 1988, is a record erupting with great songs and tremendous performances, whilst boasting a depth that continues to satisfy to this very day. Vocalist Terry Brock is on fire, cementing his reputation as one of the greatest vocalists of the genre, whilst the songs ring with a clarity that has few rivals; a classic for sure.

24-bit remastering from original source tapes, four bonus tracks, 3,000 word essay about the making of the album, interview with the band and additional photos spread out over a 12 page full colour booklet.

TRACK LISTING: 1. WHERE ARE THEY NOW 2. DANGER IN YOUR EYES 3. LOVE LIES DYING 4. EVERY TIME YOU CRY 5. TALK TO ME 6. LIVING IN THE DANGER ZONE 7. MODERN WORLD 8. INTO THE NIGHT 9. WALK IN THE FIRE 10. AFTER THE HURT IS GONE

BONUS TRACKS: 11. JACKIE’S GONE (Demo) 12. BIG TOM (Demo) 13. LIBERTY (Demo) 14. THE LAST CHANCE (Demo)

NOT FOR want of trying, the British melodic rock scene was - post NWOBHM - eclipsed by the great American AOR sound of the early eighties. With bands such as Boston, Foreigner, Journey and Survivor enjoying serious chart action across the great divide, a new wave of melodic British hard rock band tried to muscle in on the action and prove to our American cousins that we could do the job just as well

Based in Glasgow, Strangeways ambition was as far reaching as their music. Paired with renowned producer Kevin Elson (Journey, Europe etc) the band cut this, their debut album, in Zurich, Switzerland and finished it in Pete Townshend’s Eel Pie and The Kinks Konk studios, London. The results were impressive, attracting musical comparisons to early Def Leppard and receiving accolades from a variety of respected rock institutions. ‘Strangeways’, originally issued in 1986, served as an excellent introduction to the band’s abilities as superior AOR contenders.

24-bit remastering from original source tapes, 5 bonus tracks, 3,000 word essay about the making of the album, interview with the band and additional photos spread out over a 12 page full colour booklet.

TRACK LISTING: 1. The Kid Needs Love 2. Hold Back Your Love 3. Close To The Edge 4. Heartbreak Zone 5. Cry Out 6. Power Play 7. Breakin’ Down The Barriers 8. Now It’s Gone 9. More Than Promises 10. Hold Tight

BONUS TRACKS: 11. All The Wrong Reasons (Demo) 12. Hold On (Demo)13. Close To The Edge (Demo)14. Breakin’ Down The Barriers (Demo) 15. Streets On Fire (Demo)

THEY SAY nine lives, cat’s eyes. Amazingly the same can be said for Kansas. ‘Drastic Measures’ was the band’s ninth and final studio offering before hanging up their instruments. As the prime purveyors of progressive pomp rock, Kansas ruled the roost during the ‘70s accruing the sort of multiplatinum success that they could only have dreamed of at the start of their career back in their hometown of Topeka, Kansas. But it wasn’t just album sales that won them an immense following. Against all odds they actually scored hit singles, taking their music into the hearts and minds of a new and expansive audience.

‘Drastic Measures’, originally released in 1983, was the band’s second album to feature new vocalist John Elefante – an appointment made necessary after the departure of Steve Walsh. Not surprisingly, the band’s sound was evolving, moving with the times and displaying a more accessible timbre. Sure, the progressive rock element was still entirely audible but the songs and delivery fitted into the jet stream of men on a mission. AOR for sure but with an edge and urgency that leaves little room for debate.

Produced by Neil Kernon (Queensryche, Dokken) the sound is both contemporary and sophisticated, allowing the band to fully embrace their past yet utilise the latest technology. Contains the top five rock hit single ‘Fight Fire With Fire’.

24-bit remastering from original source tapes, 3,000 word essay about the making of the album, interview with John Elefante and additional photos spread out over a 12 page full colour booklet.

TRACK LISTING: 1. Fight Fire With Fire 2. Everybody’s My Friend 3. Mainstream 4. Andi 5. Going Through The Motions 6. Get Rich 7. Don’t Take Your Love Away 8. End Of The Age 9. Incident On A Bridge