shanghaiiop.blogg.se

Another strong record by the Snake and deserved a solid 85% from me. Aldrich / Beach killer guitars are another highlight of modern day Whitesnake and enhanced the overall value of the band and album. The production is great, the bass level is quite high so you might want to tune your EQ for optimal enjoyment. The title track moves in with classic Zeppelin style and strangely I can see Sting also fits perfectly to sing this song.Ĭoverdale still has amazing vocal at his 60s, even though not as high as it used to be, but it's normal considering his age. 'My Evil Ways' wrecks some havoc in heavy riffs and crashing drums, what a beautiful tune.

The joyous vibe in midtempo with commercial feel is a safe to everyone's ears and one of the strongest tunes here. 'I Need You (Shine A Light)' will definitely be fans favorites. For those who love ballads, 'Easier Said Than Done' is stunning, 'Fare Thee Well' also a great slow acoustical track while 'One of These Days' is faster in tempo and also lovable. They should have been put the first single, 'Love Will Set You Free' or 'Dogs In The Street' to keep the momentum up. 'Steal Your Heart Away' is a brilliant opener but I don't think 'All Out of Luck' is a better follow-up. The bluesy touch is obvious, the heavier riffs are there, but they also didn’t forget to include the easy-listening feel to balance the whole album. Fans of '1987' and 'Slip of The Tongue' will probably only like half of the songs inside while fans of classic Whitesnake will dig it better because this album explored their pre-commercial era and combined it with the latest modern elements from 'Good To Be Bad'. 'Forevermore' was divided by two different opinions. This may not be the Moody/Marsden or Sykes era any more, but the result is a damn fine listen all the same. I must confess it has got me wondering what the last few releases were like, as they are a band I have been deliberately avoiding. The result is me playing and enjoying a new Whitesnake album for the first time in 30 years. The band are cooking, and while there are times when they do fall into the trap of generic hard rock, Coverdale is always there to lift them out. If they hit a note, it feels much more like he has hit a chord, and then there are songs like “Trouble Is Your Middle Name” which contains elements of his old style mixed in with the new and it is damn fine indeed. Coverdale’s voice is just as good as ever, and even though he doesn’t sing the blues like he used to, there is very much that element in his sound that is very different to the rest of the singers around.

So, I put it on, and realised much to my initial annoyance that there were some really good songs on here and I was starting to enjoy it. What was I going to say about the 68-year-old permanently permed and tanned Yorkshireman? I wasn’t going to like the album, that was sure, but I’d better give it a play, I guess. I even went to see Company of Snakes and bemoaned the demise of the band I used to love so much, so when this arrived, I knew it was going to be interesting as I don’t think I have ever reviewed the band. I had to do some research to come up with that, as I long ago lost interest in a band I followed intently in my teenage years. Joel Hoekstra joined on guitar four years ago in time for ‘The Purple Album’, and co-wrote six of the songs, while the line-up is completed by bassist Michael Devin who first appeared on ‘Forevermore’ in 2011, and new keyboard player Michele Luppi, who made his live debut in 2015. As well as bringing his impressive musical chops to the band, Reb has co-written five songs on the new album, the fourth studio album he has appeared on, commencing with 2008’s highly acclaimed ‘Good To Be Bad’. Guitarist Reb Beach, who originally joined Whitesnake in 2002, has stepped up to become the group’s bandleader and guides the band to implement Coverdale’s musical vision. That was the first album to feature Tommy Aldridge on the skins, and all these years later he is still there. But that is a very long time in the past, and by the time of ‘1987’ they had reinvented themselves and produced an album which has rightfully been declared one of the very finest hard rock albums of all time. Back then they were a blues-based rock band and the music they pumped out was superb, with their ‘Live… In Heart of the City’ album absolutely indispensable. For many, and it must be said that I include myself in this number, the only valid entity allowed to really carry off that name was the one which had Micky Moody and Bernie Marsden involved.