(Frontiers / Mastertrax)
One of the most successful bands in sales and popularity of the California scene of the late eighties seems intent on greening laurels over twenty years after busting the charts with his famous "Cherry Pie . And they do it without his face it was visible in their heyday, singer Jani Lane that, after another failed attempt a reintegration into the group, its founders Erik Turner (guitar) and Jerry Dixon (bass) decided to replace the powerful former Lynch Mob Robert Mason which gives it a stronger and more aggressive tone to the songs. Together these three complete training guitarist Joey Allen and drummer Steven Sweet satisfying all of them with a note to shape the fourteen issues of this "Rockaholic" title, it seems to me, as explicit as autobiographical. Unfortunately for the quintet and for many groups of merchantability and fun filled the streets of Hollywood to the beat of hard rock resultón, it seems that those times will not return, but at least try to keep doing what we have done best throughout his career without going into stylistic experiments and forth movement hardly bearable for his fans ever. Some fans who, even with the brunt of voice Mason, recognize the best Warrant just start listening to the disc with the simple and coreable "Sex Is not Love" provocative and catchy chorus with its clear, the As with the more melodic Rascon and "Innocence Is Gone." Remain convinced with more direct and rocking "Snake" voice rougher, which becomes more oscurilla in the sunshine "Dusty's Revenge" a certain taste western, and more powerful in the ballad of acoustic touches "Home" which highlights their large choirs and good guitars. It is the only slow song on the disc, one of the usual strengths of the group, and the half-times "Found Forever" sentimental and compact, and the correct "Tears In The City" with light orchestral and acoustic arrangements, still retain tradition. The good hard melodic melodies and voices to appear in "What Love Can Do" touching the AOR, and the most guitar and compact "Life's A Song", showing much more rockers on "Show Must Go On" Rhythm and infectiously cheerful, or in the hardest "Cocaine Freight Train" in which are placed near frantic resulting almost addictive harmonica and wa -wa included. In contrast heavier and denser dragged me are the "Candy Man" and a discreet romantic spot "Sunshine", improving the final "The Last Straw" deep riffs and powerful rhythm. A good album, with enough spark to what is customary lately and that, without reaching the level of his first two deliveries of worship, but decent if you keep the name of the group. Mariano
Palomo
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