Bang Tango - From The Hip (2006)

Joe Leste revives Bang Tango, despite being in one of the coolest bands for decades in Beautiful Creatures. I'm often confused when bands like this re-emerge after never really impressing in the first place, and then end up sounding a little like the bands the members went on to play in. Now, I was never a big Bang Tango fan, but 'From The Hip' is a real rocker of an album, but I have one major problem with this. Alot of it sounds like a watered down version of Beautiful Creatures. Joe Leste's vocals have certainly got stronger with his current band and on opener 'Its All Ok' you'd swear you were listening to BC all over again, even with that gargantuan riff. However, the band soon revert to that '80s sleaze metal sound which didn't get them very far. 'Go, Go, Go' is a poor man's Faster Pussycat with an AC/DC riff, 'Mother Mary' actually roars with its guitar groove and Joe's vicious vocals which when he warbles reminds me of a hungry Ian Astbury of The Cult, but the riff certainly saves the day here. Again though, as soon as Bang Tango add extra beef to the track, and I'm constantly reminded of a lightweight BC. 'Get Used To It' shakes again like The Cult with a rougher vocal and 'Simple' is a leather strut.

Probably Bang Tango's best album, although far too late and irrelevant when we again consider what else has come. Beautiful Creatures are a truly magnificent band, and I hope hope Joe doesn't decide to aid his Bang Tango buddies instead of kicking out the jams with BC. And as 'Angel Devil' drifts like some cliched '80s porch-perching ballad, I think back to the brilliance of Love/Hate and the likes, and wonder where Bang Tango fit into all of this.

6/10

Revel8 - Revel8 (?)

Don't know alot about this but it deserves inclusion for this is the band put together by ex-Kik Tracee voice Steven Shareaux, but be warned rockers, this is pretty lightweight space-rock with a cosmic feel, like floating through the zenith. Some good tracks, nothing truly outstanding and I do, rather worryingly, or maybe it's just me, get a Radiohead feel from this. There's a lot of soul to Steven's voice, opener without you is very catchy although you wouldn't recognise the guy as the big-haired rocker from Tracee. I don't think Revel8 lasted for too long, but on cuts such as the mellow 'Cool Aid' and the dreamy 'Hello' you can at least get a glimpse of this obscure band, and then wonder just why Kik Tracee couldn't have made it big. Steven must have been a respected singer to gain audition for Motley Crue when Vince left, but with Revel8, this is an almost commercial slice of American rock, very much bereft of hairspray.

6/10

Rhino Bucket - The Hardest Town (2009)

Right, I'm reviewing this simply to explain to the Rockin' Rabbi as to why bands like this shouldn't really exist. Now, I'm all for bands being retro and borrowing heavily from their influences, hell, I love Jet, Oasis, and hundreds of bands who've ripped off the Sex Pistols, The Beatles, Sabbath etc. But as the opener kicks in it just makes me want to go and put AC/DC's 'Highway To Hell' on just to put this rust bucket into perspective. This is clone rock. And I don't see the point in trying to sound exactly like your heroes. Three chord boogie, a Bon Scott vocal drool, and that lazy, fist-pump of a chorus...just nowhere near as good as early AC/DC. Eleven tracks, all with that AC/DC structure. Of course, bands like Rhino Bucket don't want to change the world but for once in a while they could change their cd player and put something else on to influence them because this is tedious.

4.5/10

I Love You - Live E.P. (1989)

It's strange as to how many pretty obscure bands in the late '80s and early '90s often managed to release odd little EP's either live, or unreleased tracks. I LOVE YOU did it, not sure why, as it's often difficult to promote a career that was never gonna get fully recognised. Still, kinda nice to hear the handful of cuts on offer, even if it sounds as though there are only a few people, probably friends in the crowd. To be honest, I would've been quite pleased to have seen a band like I LOVE YOU live, and this output has a far angrier and heavier sound than the debut album, so if you can dig it out then give it a spin. Cool cover, cool band, but what was the point of this record ?

5.5/10

DC-10 - Co-Burn (?)

Anyone know anything about DC-10 ? Okay, a poor name for a band and a record, but this is an record, soulful, chilled, funky, highly grooved and mellow. Mordred, ala 'Vision', a bit of Heads Up, Chilli Peppers, Fishbone, Santana (!), in fact, heavily influenced by the early '90s funk metal trend, although this isn't heavy on the metal at all, and relies on slap bass, jangly funky guitars and chilled vocals, ala Lenny Kravitz and white boy hip-hop, but little else I've been able to find out. 'Miss Thang', 'Nothin But A Groove' etc, kinda nice...then wears off after a while like bubblegum...

5/10

Belladonna - Belladonna (1995)

Why do I like Joey Belladonna's voice so much ? Well, much of my soft spot comes down to the two classic albums he made with Anthrax, those of course being 'Spreading The Disease' and 'Among The Living'. Then, two more albums later and he was gone. Anthrax got pretty serious, and Joey released this rather unimaginatively titled debut, under the rather unimaginatively titled name of himself! So, what is it like ? Put simply, it's a slightly watered down version of Anthrax, with a slightly darker edge as Joey assembles a bunch of muso's from upstate New York to chug, churn, chug some more and then chug again. In fact, it's pure Anthrax, from opener 'Blunt Man' to my fave chugger, 'Two Faced'. Trouble is, despite my liking for the guy's wails, this is a case of heard it all before. The bass is heavy, the drums are there to mosh to and the guitars reek of Spitz and Scott Ian, making you want to put your Bermuda shorts on and grab a skateboard. I'm unsure as to why Belladonna would want his new venture to sound identical to his old one, but maybe it's in the blood, or maybe he's just trying to make his old mates see what they are missing. Personally, I think Anthrax should, reform with the 'Among...' line-up, but if they don't, they don't, we still have the memories.

6/10

The Scream - Takin' It To The Next Level (unreleased - 1993)

I owe the pleasure of this listen once again to the Rockin' Rabbi, and with Billy Fogarty at the helm, The Scream are nor bereft of Corabi beef, and instead provide a soulful metal maelstrom more akin to Mordred, Lenny Kravitz and Jimi Hendrix. Not sure what the die hard fans will think, and maybe that's why this release lays gathering dust in the archives, but 'Takin It...', for me anyway, is a cool, smoking record, even if it's rather removed from The Scream's brand of ballsy sleaze rock. I'm not sure if these guys just jumped on the funk metal bandwagon and then realised the scene was dead before it was too late, but whwen you hear the jangles of 'Miss Thang' you'll think 24-7 Spyz meets Black Crowes, whilst 'Another Rock' is Fishbone meets the Chilli Peppers, and the more chilled lounge funk of 'Comin Down' is a shimmering, cool oasis of calm. Again though, this is a drastic departure for a band that although harbouring cool grooves in the past, have, quite simply become a struttin' funk act here, and I'm not sure that makes for a bright and stable future.

6.5/10

Last Crack - RunHeadStartScreaming (1994)

Is that the mighty Last Crack without the mighty Buddo on vocals!!!!?? I'm trying not to be sceptical as I slap this into the cd drive...it's been so long since the fantastic 'Burning Time', but wow, this is a very cool record. Something so truly soulful about Shawn Anthony Brown's tone, Last Crack still providing at once uplifting and then strange and dark atmosphere's. I have to admit though that Brown is literally imitating Buddo on 'Speak The Ocean', great riffs, and ominous words however, but after all the eleven cuts, I'm still hearing the same Last Crack as before and can't help but feel that Buddo on vocals is a vital missing piece. I guess I was expecting the band to drastically change, but their rage still boils the same, and I guess they didn't have to alter, but why on Earth replace your singer with someone who on many occasions tries to replicate what has gone before ? There's no knocking the guy's vocal delivery, 'Forest Mother' chugs and twists whilst 'Deeper Digging' offers more frenzy in its gloomy bars of doom.

I guess in any form Last Crack will rock big time, but Buddo was a star, whilst Mr Brown is simply a very cool voice, but lacking the stature of the big voiced ex. However, I'm just being petty and should judge this record on how it stands as a rock 'n' roll album, and as 'Structures' flitters through the speakers I'm reminded of that bombastic Mindfunk coolness and Stillborn smoothness, mixed with several other bands from that great time five or so years previous. Still elements of magic at work here and I have to congratulate Last Crack on remaining a twisted stone set in the countryside to remain for all time. A great cult band, who now, after many years passed, have reformed with Buddo on vocals. But enough of Buddo, because this is a very worthy record.

8/10

Enuff Z Nuff - Dissonance (2009)

Slightly awkward title, although 'the heavy metal Beatles' have always provided us with strange album titles. Thankfully the music is still sugary, summery and toxic like a drug you just know ain't doin' ya know good, but which feels heavenly each time it's experienced. The opener is a dirty Beatles anthem, 'Fine Line' shimmers and shakes as you'd expect, could that be a cut from 'Paraphernalia', tinged and unhinged by Donnie's slightly sombre lyrics. Chip's bass bubbles wondrously again and again, can this band continue to write such solid records ? Of course they can because they've done it for so long, and 'Roll Away' will bring that tear to the eye once again, bringing to mind The Beatles 'Long & Winding Road', stunning.

Despite the drugs, Vie is an amazing frontman, like Rod Stewart his fragile broken soul reaches deep within and as he chokes back the cigarette smoke and years of hurt, another classic melody emerges from his lips. 'Altered States' begins in cheery motion like something from The Beatles 'Rubber Soul', and Vie must surely be Lennon in disguise behind that muffled vocal delivery. All the while building to another ecstatic chorus where doves soar to the sky and sun-beams reach down to the pastures. Hard to fault as a rock 'n' roll band. Like British rock stars Oasis (but not as massive) Enuff Z Nuff where their hearts and their influences on their sleeves and like the British combo, they appeal, but tragically not as far and wide. It's strange how this record was only released in Japan, sure, those guys go mad for this kind of stuff, but so do I so come on, give Enuff Z Nuff they respect they deserve because they've been great for so long.

8/10

Warrior Soul - Chinese Democracy (2008)

Ooooohhh the cheek of it...fully aware of what Guns 'n' Roses long awaited album was to be called, the formidable Kory Clarke goes and gives his new album the same title!! Clever ? Stupid ? Who cares, Warrior Soul rock, simple as that. The bands first two albums, 'Last decade...', and 'Drugs, God...' are without doubt two of metal's finest records. Once signed to the Geffen label there was no way that a band with so much anger and grim prophecy were gonna sell millions of records. Instead, they got wasted and kicked ass. Kory is a mighty fine voice, a throat of gravel that on opener 'Fuck The Pigs' could pass off for a Lemmy sound-a-like, especially with that shrapnel riff...and speaking of cutting, dirty guitars, 'The Fourth Reich' is as rough as sandpaper. Boy have the band, Clarke in particular, got aggressive. We always knew of their angst, their political sarcasm, the music rattling along like some grim documentary shoved down out throats as the world exists on famine, death, disease and war.

Now, I like the new Guns 'n' Roses record, but Axl and company have NEVER rocked like this. From the swollen groove of 'Don't Believe', to the classic metal sounding 'Bad News (Rock 'n' Roll Boyfriend)', it's as if Warrior Soul have never moved away from their late '80s doom-laden lullabies. Truly monstrous,industrial rock 'n' roll from the trash-ridden alleyways and syringe-infested pits of the inner city. Warrior Soul have morphed into a sleazy Motorhead, and are all the better for it. And I reckon they sold more records by taking the album title from G 'n' R, and good for them. Kory don't give a fuck. Snort it...

8/10

Coroner - Grin (1993)

More brooding brilliance from the trio who seem to have been around for so long, yet somehow, within the thrash scene, and yet without being thrash, have carved a formidable and eerie niche for themselves. This is awe-inspiring technical metal, heavy and diverse. From the tribal intro to the heavy groove of 'The Lethargic Age' which could somehow pass for Faith No More in its unpredictability. But this is Coroner, and Coroner play their own style of metal, plagued by the sinister whispers of Ron Royce, shattered by the leadweight riffage of Baron and thunder drum of Marquis. A fascinating listen, don't be put off by the length of the tracks, these cuts are worlds of their own, full of odd atmosphere and complexity. 'Caveat (To The Coming)' reminds me of Atheist but there are some huge grooves on here which even bring Mordred to mind. Noise Records certainly had an impressive roster to boast and Coroner are a band to be admired for constantly shifting gears. The riffs of 'Status: Still Thinking' and 'Theme For Silence' will please any headbanger stuck in the '80s when Coroner were lumped in with the likes of Kreator, but if anything, Coroner have progressed in similar vein to Voivod and Celtic Frost. Expanding within their own style which always remains original. Thinking man's metal indeed...

8/10

I Love You - All Of Us (1994)

A pretty hard to find follow up to the immaculate, self-titled debut. I Love You are a wonderful, wistful, quirky and possibly difficult act who with such ease, mix styles to form a strange brew of soulful rock. Certainly slightly popular during the early '90s alterno-metal scene, but I Love You of course tragically faded like so many other extinct specimens. I'm hoping that if you've read this review but never heard of I Love You then you'll attempt to download their albums, otherwise you've missed a treasure.

The album struts like mighty Marc Bolan on opener 'All Of Us', with a dash of The Beatles thrown in, and as 'Blood' flows through the speakers you realise that gone are the darker shackles of the mysterious debut, and instead we are treated to a summery, funky and joyous sound. Superbly catchy, at times psychedelic, and all the while a soundtrack to summer. There was always something slightly twisted and ominous about the debut, and as Jane's Addiction, and Soundgarden achieved cult status, acts like I Love You and Warrior Soul were left floundering, but thankfully, through the sleazy grime they produced, they stuck to their guns, believing in their other-worldly talents.

Thirteen grooves on offer which blend a dirty grunge with a Mindfunk heat, and not forgetting a Last Crack perception which makes them so alien in their beauty. At times bluesy, a variety of instruments, and that unique jangly freshness. I guess I Love You are quirky, but they are simply too clever to be labelled as such. Magic to listen to, not strictly metal due to its diversity, but a record that needs to be heard.

'All Of Us' rises in similar fashion to Mother Love Bone's majestic 'Apple', and although lacking the glam arrogance of Mr Wood's creation, this is a record that needs several listens before being worshipped forevermore.

8.5/10

Kik Tracee - Centre Of A Tension (unreleased)

Well, I have to thank the Rockin' Rabbi for this absolutely wonderful record. Kik Tracee, file alongside Saigon Kick, I Love You blah blah... truly beautiful rock 'n' roll that lasted one album and one EP, and then as I discovered, this unreleased album. And what a tragedy it is that such a record won't be hitting the shelves. I'm unaware as to when this was recorded, but boy, this mustn't be laid to rest so easily in the bootleg charts or download forums.

Kik Tracee always had a knack of writing incredible hooks, sweeping ballads but also getting down and dirty. However, 'Centre...' is pretty much bereft of the down 'n' dirty, instead the band sway and swoon across the fields with what can only be described as a sombre rock 'n' roll goth. And I mean true goth, that dusty style of music huge in the UK in the '80s when bands such as Sisters of Mercy, The Mission, and many others paraded through the sunny streets in dark garb. 'Til Death Do Us Part' is an anthem for the estranged, a wiry, solemn jangle where Shareaux's vocals remind of those gloomy echoes of the mid-'80s where every day it rained. Kik Tracee are shape-shifters of natural beauty, at once a seething beast able to swagger in the breeze, or on the sun-drenched 'Homesick' they drench us in tales from some porch where horses run free and ladies in ripped denim jeans climb into pick up truck's and let their hair flow in the wind. Maybe it's the shuffle of the guitars which paint all these pictures of '80s love-rock, but these kind of hazy days are crushed with the sleazy, G 'n' R storm of 'Cancer Of Hate', but Steven's vocals take him beyond any kind of straight down the line ballsy rock. Again, the band alter time and time again, chugging riffs, then those sugary struts.

'Centre Of A Tension' consumes you, it licks and laps at you, hairspray in your eyes, lipstick plastered over your face, and then suddenly drops you head first into some kind of mystical, psychedelic yet downbeat street in industrial Britain. The band have made vast advances on the sleaze rock debut that was 'No Rules' although the 'Field Trip' EP promised fizzy journey's into a time forgot, and with 'Centre...' not being released, I can only wonder what on Earth is wrong with people in the music business for not signing up such a talent.

There is a dark, brooding atmosphere throughout much of this record, a cauldron of The Cult, Saigon Kick and Last Crack. 'Delilah' is a prime example of that sleek and supremely intelligent talent paraded by musician's who should be filling stadiums. And if you want music to fuck to, then slap on the groovezilla riff of 'Mouth To Mouth'.

Don't let Kik Tracee slip away...

8.5/10

Saigon Kick - Bastards (1999)

This didn't make much of a headway, due to restricted release, but once again proves that it's not always the big bands who have the biggest talent. Even without one of my favourite vocalists, Matt Kramer, Saigon Kick still write some of the most moving songs ever. Far removed from hair metal despite once being lumped in with that category, since Jason Bieler has taken over, SK are more of a Beatles/ Euro-pop/rock act big on lush choruses, sweeping strings, quirky funky '60s grooves and lightweight love ballads. One major negative however to this is the fact that they've lost the swagger of the first two albums which I personally think are metal classics. But, if you like your rock alternative, cheerful and smouldering, then 'A Lot Like You' and 'So Sad To Say' will have you at once bopping, popping and hopping and the next reaching for the box of tissues as you weep to another SK love track.

The band write such catchy tunes that only Enuff Z Nuff have bettered more consistently. The jangle of 'Meet Your Maker' is so wistful with it's lighter-waving chorus, ala Oasis, 'Break My Heart' is pure American pop-rock but 'Who's Crying Now' doesn't allow us to forget the days of reasonably rocking guitars, although this is pure bubblegum Beatles, whilst 'Big Shot' is a real stomper.

I love Saigon Kick in whatever form, but can't help but feel that with Matt Kramer at the helm we are dealing with a far more mystical and edgy animal. Still, this last effort is a fitting finale for a very cool yet criminally underrated band.

8/10

White Fear Chain - Visceral Life (1996)

Any body out there remember the brilliant Last Crack ? Very much part of that pre-grunge wave of alterno metal bands who were simply too cool to be successful. Well, White Fear Chain are fronted by the extraordinary Buddo on vocals, who lead Last Crack into unimaginable realms. So, are White Fear Chain just a clone ? Well, as the title cut bubbles in from the shadows, one would think that maybe this is another attempt at recreation. The music is awkward, jerky, at times funky but without menace, but it's very much Last Crack all over again. However, once the brooding 'Daily Into Darkness' kicks in with its lead weight chug and serpentine writhe, it's clear that despite all the similarities, White Fear Chain have their own identity, but are not that different from Last Crack but this is a great thing. 'Daily...' is a very dark trip, Buddo not quite as strange in his preachings and teachings, and the music does have more of a groove, particularly almost three minutes in. It's then back to the Last Crack weirdities of 'Roaches In The Lamplight Screaming' but don't let the difficult title put you off, this has a catchy chorus to die for as Buddo yells, "Alive!!", and it's then that you recall Last Crack's absurd ability to carve very memorable tracks out of peculiar arrangements, and eerie meanderings.

Check out the swirling 'Shotgun Mouth', reminding me heavily of I Love You and taking me back to those late '80s and early '90s when this kind of music emerged from nowhere, bedazzled me, and yet faded into metal folklore. 'Peppermint Twist' soothes, but abruptly thrashes and quakes, and the final rock-out, being 'Headstone' provides another heady trip into mystical metal stratosphere's, and there's that jangle and angst which Last Crack made their own.

It's a thrill to know that Buddo continued in the music biz. It's a tragedy of course that despite rave reviews these kind of bands fluttered into nothing. White Fear Chain have made no head way at all, but it's a record that once again proves that there is huge talent out there but never fully recognised.

Long live Buddo.

7.5/10

Guns 'n' Roses - Chinese Democracy (2008)

Three millions years late...a thousand studio's involved, a hundred guitarist's, fifty drummers, twenty bassists blah blah..Axl returns...hardly the second coming, more of a very belated apology to fans for blowing it all. Okay, I'm not gonna sit here and suck the arse of 'Appetite For Destruction', it was a good rock 'n' roll record, but not the record it was made out to be. And don't get me started on the bloated 'Use Your Illusion' volumes which waddled out of the sea like some stranded whale in a bandanna. But, we must forget those hazy days of sleaze and concentrate on the Axl Rose solo project, because let's face it, it's not Guns 'n' Roses anymore. He looks like Mick Hucknall (the waxy, ginger braided singer of Simply Red) and he's not the messiah...he never was, but of course, he gave even the normal people in the world a reason to love rock music via 'Sweet Child O' Mine'. So, let's get down to business...fourteen tracks, too many musicians, too long to make, what's the verdict ?

Well, 'Chinese...' isn't as bad as I though it'd be, although at times it's a messy affair, and of the 71 minutes you wonder why it took Axl so long to get it out, but within its fuzzy frame you can also detect elements of class, and I never thought I'd hear myself saying that. The opener, the title cut, is a poor introduction, a daft attempt at a way of saying, "I'm back...", because this sounds like Axl is trying to sound like all the bands he used to want to be like (Nine Inch Nails, a tinge of nu-metal, Soundgarden , Nirvana) when it was to late and he'd pulled those Lycra pants too tight. Of course, when Guns 'n' Roses ceased to exist, and only in legend, the music world moved on, not necessarily for the better as nu-metal and all that crap like grunge and Korn made huge headway across the world, but Axl obviously realised there was no point in making 'Appetite...' part two, but the opening strains of 'Shackler's Revenge' and various other cuts on the album, seem lost, sailing away some over-produced, densely layered cloud, where his vocals are obscured by electronics...but, and I say a big BIT, when Axl finally remembers he's in Guns 'n' Roses, he still knows how to rock. 'There Was A Time' is a magnificent track, slightly ruined by the Nirvana riff that backs the incredibly catchy chorus, but lyrically it's a stomper, in fact, most of the lyrics on the album are very good indeed, and when Axl decides to give those lungs a scream, there's that real element of sleazy fury again, not witnessed since the face-scraping jive of 'Welcome To The Jungle'. I'd pick 'Raid N' The Bedouins' over the Marilyn Manson-esque 'Shackler's Revenge' anytime, although the chorus of the latter would soar far greater without the complexities of the mechanics which shroud the vocal attack. Axl must remember that at times it's still col to strip the sound down.

Many will be surprised by Axl's vocal range on 'Better', which again would benefit without the riffage which is clearly Axl's attempt at getting hip with the crowd. 'Street Of Dreams', begins like classic G 'n' R, even has a bit of Bowie and Queen about its drama and struts like a drunkard back to the late '80s with its searing guitars, one of the best tunes on the record. 'If The World' begins like some sinister Faith No More excursion, and by this time Axl is really finding his range vocally, but I'm still not sure about those chugging guitars. Sure, some progression had to be made, hell, it's been a long, long time since he rock 'n' rolled, however, thankfully 'If The World' doesn't succumb to industrial poundings and multi-layered noise. 'Catcher In The Rye' is somewhere between the Faces and Oasis, especially in its production and lazy 'na na' chorus, a true epic anthem cleverly constructed whilst 'Scraped' is a balls to the wall rocker. The album slows with 'Sorry', a rather subdued rock twaddle, 'I.R.S.' begins with a throb and melts into a superb rocker fuelled by Axl's whine, 'Madagascar' is a huge concept, but many may be disappointed by the album's closing tracks, but you should, in reality, find the said 'Madagascar', 'This I Love' (a ballad) and 'Prostitute', with its cool piano and catchy chorus, a fine finale to an album I really expected to disappoint.

Those of you expecting another 'Sweet Child O' Mine' should really bury your head in the sand once again, because Axl, and the musicians he's assembled have certainly created a behemoth of a record, which at times may be a little too overly complicated for its own good, but when all is said and done, there are some excellent tracks on offer, proof that there is life in the old dog yet and the ghosts of 'Appetite...' have truly now been laid to rest...

8/10

Beautiful Creatures - Deuce (2005)

Album number two from my favourite post-'90s period rock 'n' rollers. BC somehow get even heavier despite losing the very cool DJ Ashba. Somehow, this wonderfully packaged record is even heavier than the brilliant self-titled debut album, the riffs are blacker, the sleaze is grimier, and the anthems blot out the stars. 'Anyone' rips into gear, a true arm raiser with enough swagger to decimate a cat-walk. Joe is on great form venomously spiting out the lyrics, bringing the band into the modern era, clashing with some of the stadium acts yet getting no winning vote despite crushing the competition. BC are far more dense than Buckcherry, more heavyweight than Brides of Destruction, yet this is the kind of company they should be keeping, although all three bands have had a bit of a tough time of it, only Buckcherry hitting the mainstream.

How long can a band of this class be overlooked ? How can songs of such majesty and fist-pumping metal be ignored ? As I write, 'Deuce' has made no impact, and Guns 'n' Roses emerge from their hole as if it were the second coming....a false prophecy in my eyes. 'Deuce' makes 'The Chinese Democracy' look like exactly what it is, an overblown, over-produced example of American trash. 'Deuce' offers us seventeen cuts ( four live ), and everyone is a stonker. 'Anyone' has the arrogance, the chorus to reduce cities to rubble, Leste's sneer is a demonic Brian Johnson (AC/DC), the guitar attack of Anthony Focx, plus additional riffage from Grossi, Thomas and Simpson, is simply slick yet thunderous. The strains of 'Freedom' remind me a hell of a lot like a more vibrant The Cult as it shakes through its mammoth chorus, but it's 'Unforgiven' which takes the album up a notch.

'Deuce' is a remarkable album that takes the best of early '90s alterno-metal, bathes it with a rock 'n' roll yet weighty swagger, and shoves it in your face. tragic that so many have missed the boat, because 'Unforgiven' kicks, scratches like anything Guns 'n' Roses have produced in the past. 'Straight To Hell' is more bona fide rock 'n' roll, but again, the band show their subtle side with the enigmatic 'I Still Miss You' and 'Starr Cross' whilst the reflective 'I Won't Be The One' sends a shiver to the soul.

I can only promote these bands as much as I can on this blog, in the hope that a few readers might want to inject a bit of quality music into their life. Beautiful Creatures are one of those quality bands you need to hear, or you may forever exist in the commercial void of stadium rock, which for decades has plodded like some kind of cheating, fake and bloated elephant. Beautiful Creatures deserve your ears.

9/10