(Frontiers / Mastertrax)
Eight years after starting work on this record originating hard rockers Black n Portland 'Blue finally get poenrlo in circulation and available to all their fans. With a background almost identical to the mid-eighties gave us four good jobs in the exploding U.S. hair metal, the quintet is back with a worthy successor to those maintaining the identity that gave them some notoriety. That is, solid, punchy, fun and cheeky, without losing some seriousness to them away from other bands of the scene that almost seemed hard sleazy caricatures of themselves, do not give names to no hurt feelings. And it could not be otherwise in the shadow of the entrepreneur and occasional musician Gene Simmons favored the project and promoting the career of these guys were a bit halfway between the maelstrom of names bombarded radio stations and networks television in the States. A key factor for the return of the group today has been the return to the same as the charismatic frontman Jaime St. James after almost Warrant trivial step, it seems that the rest of his companions were waiting with open arms in order to complete the work begun in 2003. Original components needed only guitarist Tommy Thayer currently serves Kiss machinery, replaced by Shawn Sonnenschein unknown meets ax sharing tasks with veteran Jef "Woop" Warner , supplemented combo with bassist Patrick Young and drummer Pete Holmes . As for the issues we found some powerful and aggressive as the initial "Monkey", guitar and chorus heavy bent, the martial rhythm heavy "Hail, Hail" of clear and reasoned chorus, rapid and dirty "C'mon" romperdora, very rock and sprawling, or heavier, direct and arrogant "Hell Yeah!" that title track with its great chorus up sounding like a kind of Saxon mixed with Kiss. More fiesteras of air sleazies are macarrilla "Target" of good voices and increasing rate, the rough and decadent "Angry Drunk Son Of A Bitch" that starts connecting with the short hesitate acoustic "Jaime's Got The Beer" and the melodic and chanted "So Long" standard without breaking dutiful and "Candy" more guitar and intense. Los momentos más relajados vienen de la mano de un par de buenos medios tiempos como “Fool’s Bleed” llena de voces y coros con un gran estribillo y profundas guitarras que me recuerdan un poco a los Def Leppard del “Pyromania” , y la más lenta “Falling Down” con guitarras electroacústicas y voces dobladas. Se cierra el disco con un par de curiosos cortes como “World Goes Round” medio hippie de aires orientales con guitarras distorsionadas y rasgadas, y la prescindible “A Tribute To Hawking” que es una breve chorradita con la voz robotizada sobre un mínimo ritmo de guitarra española y que no me extraña que aparezca como pista oculta. Un final que no degrada a more correct work, intense and funny at times and that does not clash at all with the band's discography. Mariano
Palomo
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