Graveyard ~ self-titled release (Sweden)
For lots of folks, a mention of Swedish music could mean memories of ABBA's mega-successful pablum-pop, while others would be reminded of progressive performers such as Europe, Yngwie Malmsteen, and Opeth. Still others might cite a slew of death-metal outfits -- Amon Amarth, Soilwork, and Arch Enemy, for instance -- and a band with the name Graveyard would seem likely to fit into that latter category. But no, this quartet from Gothenburg, Sweden, comes with a retro-hard-rock flavor, sounding a little like a Scandinavian version of Wolfmother. The earthy taste of vintage grunge also seeps into the mix, as found in Joakim Nilsson's full-throated delivery of songs such as "Blue Soul" and "Lost in Confusion." On the disk, Nilsson shared guitar duties with Truls Mörck, but since the release of Graveyard's self-titled album in February on Tee Pee Records (in both CD and LP formats!), Mörck has been replaced by singer/guitarist Jonathan Ramm. Also in the band are Rikard Edlund on bass and Axel Sjöberg on drums, taking part in musical excursions that are often reminiscent of the psychedelic Sixties. Tracks such as "Right is Wrong" and "Thin Line" come across as both bluesy and grungy, with meandering bass lines and wistful chords that could have come from old Crosby, Stills, Nash and Young outtakes, with an injection of up-to-date angst. Similarly, "Don't Take Us for Fools" could be a fusion of James Gang and Soundgarden riffs, producing a sound that is more thoughtful than thrashy. Coming from a land of ice and snow and saunas in the midnight sun, Sweden's Graveyard does a good job of bringing a distinctive musical vision to life on this debut album. Find out more at teepeerecords.com.
To Wait for Fire ~ by: Diphtheria (Cyprus)
This is some pretty tasty metal with a theatrical edge, artfully crafted by a crew that has mastered the principles of power-chord progressions, twin guitar attacks, and soaring vocals. To Wait for Fire is a ten-song release from a new music company called Pitch Black Records, based on the Mediterranean island of Cyprus, where the band Diphtheria also originated. The disk's well-penned compositions dwell on suitably metallic concepts such as heaven and hell, pleasure and pain, and sanity and madness. While the group's native tongue is Greek, all lyrics are rendered in English by Nicholas Leptos, who credits Iron Maiden's Bruce Dickinson as an inspiration, and rightly so. In fact, in 1999 Diphtheria participated on an Iron Maiden tribute project called "Children of the Damned," and guitarists Phivos Papadopoulos and Socrates Leptos, along with drummer Stavros Pamballis and bassist Alexi David, have obviously derived much musical impetus from those classic British masters. To Wait for Fire burns with channeled electricity, aiming to incite the same kind of head-banging and fist-clenching inspired by hard-rock heroes such as Judas Priest and Def Leppard. An older, re-mastered demo track, "Living to Die," opens with a gradual minor-key sequence and builds into a hard-driving commentary on blind faith and the contradictory concept of "holy" war. That song features ethereal female vocals from a singer named Nikoletta Demetriou, while the closing cut, "God Wanted (Apply Here)" includes a "newscaster" overdub by Liana Weafer, plus piano by Andreas Giorgallis. It's a poignant conclusion to a capable compilation, in which Diphtheria, like Prometheus, brings the blaze on home to a waiting world. More can be learned at diphtheria.net
Brighter than the Sun ~ by: Dada Veda (Albania)
Recorded in Tirana, Albania, Brighter than the Sun is a set of 13 acoustic songs that should leave the listener uplifted, refreshed, and hopeful for the future. All tracks were written, sung and played by Dada Veda, an idealistic troubadour who was born in New York in 1946 and grew up through the formative years of rock-'n'-roll. He hitchhiked to California during the fluorescent flower-power era of the Sixties, and ended up becoming a dedicated yogic monk in the Ananda Marga Society. Ananda Marga, which means "Path of Bliss," is a fellowship devoted to peace, health, and harmony among humanity. Currently residing in Albania, Dada Veda helps to manage kindergarten operations for underprivileged children there, and proceeds from his CD will help to support those educational efforts. Each song on the album has a positive title and theme, including the title cut, which was inspired by meditation, encouraging people to go deep within themselves. "Common Home" is an ecological song, while "For Everyone" is, just as implied, for all people, everywhere. "Crimson Dawn" and "In the Stillness of the Morning" speak of bright times to come, and "I Don't Eat Meat" addresses the goodness of a vegetarian diet. The songs are all based on folksy chords played by Dada Veda on the acoustic guitar, accompanied by Redi Dashi on bass and additional guitars, plus drums and percussion by Andi Haxhihyseni, and background vocals by Vasudeva. Yes, there's sometimes a childlike innocence to Dada Veda's singing, and his pitch may not be always perfect, but -- look at how enduring a singer such as Bob Dylan has proven to be, also without an opera-quality voice, while inspiring a boatload of imitators and tribute-payers along the way! Like Dylan, Dada Veda gives voice to enduring issues such as social justice, reminding the listener, in "The Wise Ones Say," that one should do good things immediately, but should delay doing anything that is bad. The world can use more inspiration and direction such as that found on Brighter than the Sun. Info on kindergarten education in Albania is found at albaniansunrise.com; more on yoga and meditation is available at anandamarga.org; the singer's own site is dadaveda.com.
Live in São Paulo ~ by: Ritchie Kotzen (Brazil)
What an amazingly clean-sounding and exuberant live performance. Richie Kotzen is an ace guitarist in a variety of genres, and is known for his stints in high-ticket bands such as Poison and Mr. Big. Listening to the man, one can detect elements of several expert axe-slingers, including sliding flourishes that echo Stevie Ray Vaughn, and lead techniques that go all the way back to Jimi Hendrix and Robin Trower. And yet, when Richie makes his instrument do the talking, he holds forth with a musical voice all his own. This new live release was culled from a performance in São Paulo, Brazil, on September 30th, 2007, and for those who couldn't be there, the disk provides a superb record of what must have been a great show. Those South American audiences sure love Yankee rock, and they certainly got full value when they saw Richie Kotzen last year. He performed in classic "power-trio" format, with Johnny Griparic on bass and Dan Potruch on drums, and all three players come through clearly -- but the rhythm section remains generally foundational and unembellished, for Richie is star of this show, and oh, does he shine. Kotzen handles all vocals on the album, and although backing voices would have fleshed out the production, Richie's pipes are strong and distinctive enough to carry the day, as heard in tracks such as the opener, "Socialite," and on through "High," "Remember," and "Doin' What the Devil Says to Do," which takes a basic chordal progression into an emotional instrumental odyssey that's a must-hear for fans of guitar-hero solos. Two classics are covered, "Shapes of Things" and "I'm Losing You," both of which have fresh life breathed into them. Kotzen closes with a solid track called "Stand," written during the Poison days, reminding the listener that one must "Stand for what you believe," and the audience sang along in agreement. Richie Kotzen's "Live in São Paulo" brings an excellent electric effort back home from Brazil, with feeling.
