Since TEAZE, got back together in 2019, this was my 3rd time to see the band. Since the previous show I saw (Windsor, 2022), the band have released 2 albums – Live At Liege (2025) and their first new studio album since 1980 – Rev Your Engines, came out earlier this summer. In there the band also went through a change in drummers, with Mike Kozak retiring, and new drummer Jim Bonventre joining the band and playing on the new album.
Prior to the show we learned that Jim was unable to play due to a health emergency the day before, but last minute arrangements were made with Mike Kozak stepping in. Prior to Teaze, Christian Vegh performed, as did Rick LaBonte And The Band Of Brothers. Rick’s set featured classic rock covers as well as originals. I preferred the originals, and look forward to Rick’s new album coming out in the near future.
Teaze came out, and with the last minute change in drummers, meant a couple of changes in the set-list, leaving out a couple of the new songs. But the set was full of the band’s high energy guitar rockers, which resembled the Live At Liege set, but with the band adding a few, notably a cover of Rainbow’s “Man On The Silver Mountain” (which is on Rev Your Engines) and fan favorite “Boys Night Out”. A Teaze live show is a genuinely good time; these guys play like they are having a great time, with Mark Bradac all over the place, and singer Brian Danter, sounding like he hasn’t aged (check out recent clips of “Heartless World“), and Kozak, who hadn’t played in 2 years, stepped in like he hadn’t left, and seemed to have a good time. The band is completed with guitarist Charlie Lambrick (who joined the band in 2019), who also produced and engineered the new album. I did take a few pics of Rick LaBonte And The Band Of Brothers, and an excessive amount of Teaze. So, for I’m just going to put them all here. Here’s looking forward to more shows from these guys!
Well, another April Wine list! This is 7 April Wine opening tracks that really stand out from the band’s 16 studio albums. These are the ones to me, that had the most impact for the album, the band, the era… A few of these still feature in the band’s live show. Drop a comment if there’s a few different choice you might have.
Anything You Want, You Got It
From 1982’s Powerplay album. This is one of those perfect openers, it’s a big rocker, and lyrically and musically geared for the stage, with plenty of room and opportunity to get the audience involved. Made for a great show opener, as it would also lead off the band’s live One For The Road album.
Oohwatanite
From 1975’s Stand Back album. A huge album at the time. This opener was written and sang by Jim Clench, who left the band after the record. The song, with it’s unmistable fire-bell intro is one of the band’s trademark songs, always in the set list, always a highlight of the show. Sung by a few different members over the years.
I Like To Rock
The intro 1979’s Harder…Faster. One of the band’s most loved songs by long time fans, usually finishing at the top of fan polls.. Cool build up in the intro. with 3 guitars, and Steve Lang’s bass. Also a memorable solo and outro, with the blend of the riffs to “Satisfaction” and “Day Tripper”.
Weeping Widow
Sang by Jim Clench, written by British songwriter Robert Wright. A classic intro to 1973’s Electric Jewels. A unique acoustic intro, with vocals next, before the band kicks in, making this quite a heavier track.
Look Into The Sun
The Frigate album, from 1994 wasn’t overly heavy, but this lead off track was one of (if not, The) heaviest songs the band ever did, one of the closest things to ‘heavy metal’. A bit of an oddity on that album, but it’s a killer start.
This Could Be The Right One
1984’s Animal Grace was the band’s last studio album with the classic 3 guitar line-up before they split, following a Canadian tour. I thought this was a great song, and highly energetic, rockin’ start to the album. It would be the only song from it that the band played live.
Hot On The Wheels Of Love
This track kicks off 1978’s First Glance, and really kicks off a whole new chapter in the band’s history. Lots going on in this one, between that rain sounds before the riff kicks in, and the Myles Goodwyn goes on to tell his tale (true) of stealing a car to go see a girl. Cool slide guitar in there, and that police talk over the CB (Brian Greenway) reminds me of a scene from Live And Let Die.
When KINGDOM COME came out in 1988, with their self-styled debut, and the single “Get It On”, the band drew an instant comparison to Led Zeppelin, and to some, not in a good way. The single was heard as a rip-off of “Kashmir”, and the band’s sound, particularly singer Lenny Wolf, were criticised for being blatantly using Zeppelin and Robert Plant’s (vocal) style. At that point I barely knew much of Zeppelin, and to me Kingdom Come was just another good new band to come out in the 80s. And to be fair, KC weren’t the first band to try and sound like Zeppelin. Instead of embracing the Zeppelin influence though, in interviews the band members played it down, which upset critics, and still does. Again, I didn’t care, I liked the album, the sound, Wolf’s vocals…
Kingdom Come was an album I picked up on cassette early on, and played regularly. I’d later get the LP and a 12 inch single. The lead off track “Living Out Of Touch” is probably my favorite here, great riff to start off. “Pushin’ Hard” keeps up the rock pave, a bit heavier, followed by the ballad “What Love Can Be”, a good song (and single), with Wolf delivering a fairly Robert Plant influenced vocal. The first side also features two more heavier tracks, the bluesier “17” (not comment on the lyrics), and rockier “The Shuffle”. Love the overall sound of this album; the guitars sound clean and heavy, and James Kottak’s drums really drive this whole thing.
The second side opens with the band’s best known song (and single) “Get It On”, but I prefer the next few tracks “Now, Forever After”, the slow but heavy, sort of ballad “Hideway”. The band also offered up an acoustic ballad in “Loving You” (this is more reminiscent of Zeppelin than most anything else here, to me). The album ends with a pretty cool anthem in “Shout It Out”. Not a dodgy track here.
This album got a worldwide release on Polydor, and went Gold upon release in the US, and would go Platinum there, as well as Canada and Germany. So for all the critisism they may have gotten, they did pretty damn good with this debut. Kingdom Come followed this up a year later with their 2nd album In Your Face, which I thought was just as good, but it did not have the impact the first one had. They split up following In Your Face, with Lenny Wolf carrying on the band name for years to come releasing a dozen more albums with different players, before he retired in 2016.
When 1985s Power Windows came out, I loved the lead off single “Big Money”. Again, it was different than their previous album, a step further into their change to a more keyboard sound, modern, lighter…but beyond “Big Money”, I didn’t get too much into Power Windows. I saw that tour, at Maple Leaf Gardens in Toronto, but that was the last Rush album I picked up early on in release, and last tour until the 2000s.
Roll The Bones was produced by Rupert Hine, a British musican/producer, who was more known for producing more 80s pop & New wave then, such as The Fixx, Howard Jones, and The Thompson Twins. He did do a couple of excellent Saga albums as well. So, with Rush’s lighter and modern direction for the past few albums, Hine, I guess, seemed like a good fit for what the band was going for then.
This album featured the singles – “Dreamline” (promo) “Ghost Of A Chance” (US, UK, Germany) and the title track. “Roll The Bones” (being the only video released), is the best known from this album, with it’s brief ‘rap’ section, which though I could do without, it is something different (again) and made for a great visual video and live. The stand-out track on this album for though is “Bravado”, and hearing this one in recent months (prior to the tour) is what had me revisiting this album. Seeing the live clips of it from the 50 Something Tour, and then hearing it in Toronto, along with the Neal Peart tribute collection of photos that went along with it, made more of an impact. Such a unqiue melody, lyirc and song in the band’s catalogue. One thing about the lighter sound, Alex Lifeson’s solos were always spot on during this period, such as on “Bravado”. Although I really like the 3 songs chosen as singles, I can’t imagine why “Bravado” was not issued as a single (tho there was promos of this in the US & France).
Other good songs on Roll The Bones (for me) include the instrumental “Where’s My Thing” (which was nominated for a Grammy), and “Heresy”. Can’t say I’m crazy about everything here, but there is enough classic Rush to make me want to put this on more, and rethink and revisit previous albums I never really got into so much.
In 1992 APRIL WINE returned to performing live. I got to see the band at what was then called Route 66 in St Catharines. At the time, my friends and I bought tickets based on the name, and weren’t sure who was even in the band (it was billed as “original members”). The place was packed, the band was energetic and loud, and it was great to see Jim Clench in the band, who hadn’t been in it in ’84 when I first saw the band, featuring Myles Goodwyn, Jerry Mercer, Brian Greenway, and a new guitarist – Steve Segal. From then on I would see April Wine numerous times over the next few decades.
Soon after this ’92 show, a new album was announced, and eventually a single was being played on the radio in ’93. It was the ballad “If You Believe In Me”, that not only sounded like classic 80s April Wine, but it was a heavy guitar ballad that was easily likable and suited to radio . It was one of two songs credited to (or co-credited) to Canadian songwriters Todd Kennedy & Stewart Gray. Attitude contained 14 songs, And despite being a bit long (like most ’90s albums), it contained plenty of stand-out tracks, in particular rockers “Here’s Lookin At You Kid”, “Givin It, Takin It”, and “That’s Love”, as well as a few more good ballads like “Hour Of Need”, and “Can’t Take Another Night” (written by Brian Greenway & Jeff Nystrom), The album reached #19 on the Canadian charts, with 4 singles in the top 100; “If You Believe In Me” charting highest at #19. With Attitude, the band also made a couple of videos for airing on Canada’s MuchMusic.
Attitude was produced by Goodwyn along with Montreal producer George Lagios (RIP), who’d previously worked on albums by Pagliaro, Walter Rossi, and Teaze. This new album got a lot of Canadian press at the time, and those of us that were fans were please with it. The cover featured Goodwyn’s son. Originally only released on CD (and cassette), Unidisc issued Attitude on vinyl in 2022, but chopped off 4 songs!
The band had been signed to FRE (Flood-Ross Ent), and in 1994 the follow up album Frigate was released. This 2nd album would be a mix of new rock tracks, covers, and experimental cuts. Not as strong as Attitude, but Frigate offered some outstanding songs. The lead off rocker “Look Into The Sun” – one of the heaviest songs the band ever recorded, but as far as the originals here, that is the only real heavy rocker. Overall Frigate is a mix of originals, covers, and experimental cuts. After the outstanding opener comes one of 3 covers, Willie Dixon’s “I Just Wanna Make Love To You”, Traffic’s “I’m A Man”, and the band cover themselves with a new arrangement of “Tonite Is A Wonderful Time To Fall In Love”. Not sure why the band opted to do any of these. Assuming Myles liked his own song, originally from Stand Back, and wanted to re-work it, the fact that the original was a Top 10 hit 18 years earlier . “I’m A Man” isn’t bad; I prefer it to “I Just Wanna Make Love To You”, which although sounds a bit rockier and up to date, I am not as keen on (especially in comparison to the old Foghat version). There’s also a trio of ballads, “Whatever It Takes” (credited to Brian Greenway & Goodwyn), “If I Was A Stranger” (written by members of the band CRUISER), as well as “Hard To Believe”. The ballads are the better ones here, though this album could’ve used another rocker or 2. Frigate ends with 2 very different tracks, the ’50s sounding “Keep On Rockin'” and the experimental “Mind Over Matter”, which features more keyboards…oddly after so many years I find this last song has grown on me a bit. I don’t recall the band playing much from this album at the time, aside from the new arrangement of “Tonite Is A Wonderful Time…” and the cover of “I Just Wanna Make Love To You”, and I don’t think anything stayed in the setlist for very long. A fine album, but (again) I wasn’t so keen on the covers, and lack of rockers. Gotta wonder if this album was a bit hurried, coming out just a year after Attitude. It certainly didn’t seem to get either the push or the press at the time. And I don’t recall any videos from it.(?) Neither the album or the 3 singles charted in Canada.
It would be another seven years before the next April Wine album. During those years in between the band toured regularly, mainly in Canada. The band announced an album they intended to have out in 1999, but that wouldn’t happen until 2001 when Myles Goodwyn put together Civilian Records. This label would serve the next few April Wine albums on CD.
First was Back To The Mansion. It had been originally announced with the title of Deal With It, , but this was seen as negative, so they changed the title, and it came with a fitting cover. The band was now down to a 4-piece, opting to tone down the hard-rock sound, and let go of guitarist Steve Segal. Back To The Mansion featured less covers, and it included a couple of tracks written and sang by Brian Greenway. Barry Stock who is credited with ‘additional guitar’ is also co-credited on 2 tracks with Myles Goodwyn. The album’s lone cover version is the last track, a take of Simon & Garfunkel’s “I Am A Rock”, in which all 4 bandmembers share vocals. This album would be a more laid back and simpler production than Frigate, and to me, it’s the dark horse of the band’s catalogue. No big rockers here, not too many syrupy ballads, but just a lot of really good, enjoyable songs like “Won’t Go There”, “Paradise”, “I’ll Give You That”, “Looking For A Place (We’ve Never Been)”, and “Holiday”.
Following the release of Back To The Mansion, the band were looking for an additional player for live shows, and added Carl Dixon (Coney Hatch) to add guitar and keyboards where needed. The band’s live show would feature classics like “Electric Jewels”, “Victim For Your Love”, “Cum Hear The Band”, and “The Band Has Just Begun”, among the standard hits and concert favorites. These would all be included in the 2003 2CD release Greatest Hits Live 2003 . This featured 21 live tracks, plus 2 new studio tracks – “That’s Who I Am, This Is What I Do”, a rockier song that was performed live, as well as the softer “Strong Silent Type”. I preferred the latter, although both songs would’ve suited the Back To The Mansion album fine.
In late 2006, Roughly Speaking was released, and this would be the last studio album released as April Wine. Roughly Speaking features just 8 songs, 7 written by Myles Goodwyn, plus a cover of Willie Nelson’s “Night Life”. This one was another change of direction. It kinda feels like it might’ve started as a Myles’ solo project, as the band take on a blues rock sound. Recorded on 24-track, 2 inch tape, like they had decades before, and dropping any computerized, digital recording techniques, giving Roughly Speaking a nice vintage feel. This is another one in the catalog that is so different it has taken me years of warming up to it. Again, there’s some excellent tracks here such as “I’ve Had Enough For Now”, “I Am, I Am”, “You Don’t Even Know…”, and “Life Goes On”. A heavier guitar album than the previous 2; love the guitar sound throughout this. This one came out kind of quietly, and is now hard to find and pricy, if you do find it. Roughly Speaking also dropped the band’s signature logo.
The band continued to tour, with Jim Clench leaving the band in 2007, and Jerry Mercer would retire a few years later. Over the next few years April Wine changed drummers and bass players a few times, finally getting some stability with Richard Lanthier (bass, 2011) and Roy Nichol (drums, 2012) Myles Goodwyn would later record 3 solo albums before retiring in 2023. Goodwyn chose his own replacement in Marc Parent.
This post-reunion period is worth checking out, but I wish there was more to it. No new albums for 20 years now, very few archived releases, and no later reissues or vinyl issues of the albums from 1994-2007. Here’s hoping someone takes interest in getting proper reissues (including vinyl – with proper trackilistings), legit archived releases, any (possible?) outtakes….
The current line-up of April Wine has undergone a few major tours, last year opening for Uriah Heep, as well as BTO, and most recently were openers for Triumph’s 50th Anniversary North American tour. It’d be interesting to hear something new or live (official) from the band, as well.
Another list of “volume 2″s. Back when record companies made multiple compilations out of 4, 5, or 6 albums. The first FOREIGNER albums was the band’s golden era, and as a fan of those early albums, for me, their was a big drop off after the band’s first release of ‘hits’, titled Records in 1982. The band had a strong pile of hit singles by that point. But, there was a lot of other lesser hits, live favorites, and fan favorites from those four albums, which I’ve compiled below to make aRecords: Volume 2. I think a Volume 3 would be songs from the studio albums that came after 1982, frankly a list that would be a bit harder for me. The band hasn’t released an album of all new songs since 2009, and since then, (continuing on with just Mick Jones (til more recently) it’s been a steady bunch of live albums and compilations. The most worthwhile releases being 2008’s No End In Sight: The Very Best Of Foreigner, which covered the band’s entire career up til then, and more so the 2019 DVD/Blue-ray/CD release of Live At The Rainbow ’78. There was also Foreigner 4 Live, released earlier this year (as well as being part of the Foreigner 4 box set). Would be nice to get a few more ‘official’ live recordings from the band’s glory days (Where is the 1979 Atlanta show?)
Anyway, if you have any different choices, please drop them in the comments.
Tramontane **
An instrumental piece on side 2 of Double Vision, written by Greenwood, McDonald, and Jones. A great opener, as used for the band’s intro tape on the Head Games tour. (Was it used on the Double Vision tour?). Used as a B-side to the band’s huge hit “Hot Blooded”.
Headknocker
Hard to believe this wasn’t a single! A great rocker from the band’s 1977 debut, written by Gramm & Jones. Has been a live set regular and fan favorite, appearing on a few live releases and a number of compiations.
Break It Up *
The 4th worldwide single from Foreigner 4, and 4th top 30 hit from the album. Written by Mick Jones. One of my favorites from 4.
Love On The Telephone *
An underrated classic from Head Games. Love the intro and melody of this one. Released as a single in The Netherlands, where it became a top 40 hit. In the US “Women” was chosen as the 3rd single instead. Also written by Jones & Gramm.
The Damage Is Done **
The last track on side one of the first album, written by Jones & Gramm. A classic Foreigner ballad. Great vocal, guitars, synths, and production. This was used as the B-side to the hit single “Long Long Way From Home”. Another one from that album that could’ve been a hit.
Rev On The Red Line **
From 1979’s Head Games. This is my favorite Foreigner album, and I know there was other singles from it that I could have included, but this is just one of the coolest Foreigner tracks, and another that makes one wonder ‘why wasn’t this a single!?’. Written by Gramm and Ian McDonald. One of Lou Gramm’s best performances, and outstanding solo from Mick Jones. Used as a B-side to the hit “Dirty White Boy”.
Blue Morning, Blue Day*
Another cool rocker. This one from Jones & Gramm, and was issued as the 3rd single from 1978’s Double Vision. Imagine that this gem made it to #15 in the US and still didn’t make the cut for Records compilation!
Girl On The Moon **
Another Gramm / Jones song, from 1981’s Foreigner 4. It’s a ballad, which I much prefer to the one that was the big hit from this album! Buried as the 2nd last track on the album, and issued as a single in the Netherlands. Dig the slide guitar here, classic underrated Foreigner track.
I’ll Get Even With You *
A Mick Jones song, from Head Games. Just another great rock tune from this album. Love the chorus and synths. A shame this would be the last with Ian McDonald, who contributed so much to this song and album, even credited as co-producer with Jones and Roy Thomas Baker. Released as a single in the UK, 1980. Honestly had a hard time picking this one or it’s B-side “Blinded By Science”.
Starrider
From the debut album, written by Jones and Al Greenwood. Though not released as a single, this became a highlight of the band’s live show over the years, with Mick Jones taking lead vocals on much of this, and stretching out his guitar solo on occasion. Kind of a throwback to the early 70s, with the mix of acoustic guitars, harmonies, keyboards, and flute. Absolute masterpiece, and would fit perfectly to end such a compilation. There’s an excellent live version of this on the No End In Sight compilation.
Well, with 2 new cover versions of the Rainbow classic “Man On The Silver Mountain” being released, thought I’d compile a list of covers of this Blackmore & Dio classic rocker, originally from 1975. It was the opening track to Ricthie Blackmore’s Rainbow album, his first since leaving Deep Purple. Also released as a single from it, and becoming one of the band’s best known tracks, featured on a number of live albums since then, including singers that came after Dio. I think Graham Bonnet did a great job with it, but this is often seen as Dio’s song. It also featured in Dio ‘s (the band) live show.
*If there’s any versions out there that I’ve missed (or omitted), please leave them in the comments.
JOEY BELLADONNA (2011)
Anthrax’s Joey Belladonna did something different with this song. I’m not overly familiar with Anthrax, but dig this guys vocals as he performed the song acoustically a few times. I’ve only included it here because it’s so different, and the vocal is outstanding. A shame Joey hasn’t included this version on an actual album release.
ROB HALFORD, DOUG ALRICH, ...(2015)
These are the type of ‘tribute’ things I can’t get in to. I bought this CD when it came out, played it once or twice and got rid of it. Like my Judas Priest albums, but I really don’t think this suits Rob Halford. A decent take musically, I guess.
ALABAMA THUNDERPUSSY (2006)
Recorded for a 2006 compilation of various artists on Small Stone Records, titled Sucking The 70s. This is a pretty good heavy version of the song. Great band name!
IROCKERS CREW (2016)
Another cover that, although not officially released, I’ve included here. This German band performs this so well; great vocals, guitar, etc…
BONFIRE (2018)
Another German band. Bonfire have been around since the ’70s. This is from their 2 CD set of covers, Legends. I like this one. The vocal is different, the guitar is heavy and modern sounding, and there’s some organ in there. Sounds great!
SAXON (2023)
I really like Saxon, and Biff, but kinda prefer hearing them doing Saxon songs. Like Halford, Biff Byford has a pretty distinctive voice. But again, at least this is different to many others hear, as the band sound like their just having fun, rocking it out. From their Inspirations 2 release.
HAMMERFALL (2019)
Swedish power-metal band covered this, and included it as a bonus track to their 2001 Legacy Of Kings, 20th Anniversary box set edition. Love the guitar sound on this. It seems a bit faster and bit more, err, power to it. Great version.
TEAZE (2026)
Canadian band Teaze included their version of this on their brand new album Rev Your Engines (the band’s first in 46 years!). Absolute awesome take, with a an added intro (giving it something unique), and a great vocal from Brian Danter. One of the best versions here. (IMO)
SEBASTIAN BACH, MICK BOX, etc.. (2026)
From another ‘tribute’ project of performers mixed and matched for various tracks. Not bad. Love the guitar here – Mick Box and Doug Aldrich. Not a big fan of the vocals, but it has grown on me, so am liking this more. What is Jonathan Cain doing here?
Hard rock legends NIGHT RANGER are proud to announce their new ‘Best Of’ album, set for release on August 28th via Frontiers Music Srl. The album features newly remixed & remastered versions of classic hits spanning NIGHT RANGER’s illustrious career, alongside some standout tracks from the band’s more recent releases.
To give fans a taste of what’s to come, the band shares a fresh remaster of their 1982 hit, “Don’t Tell Me You Love Me (2026).” The track arrives alongside an official visualizer video, linked below. This album will be released on both CD and Vinyl. The double LP is available in 3 different colors: black, gold, & orange splatter.
Few bands have defined the sound of American melodic rock quite like NIGHT RANGER. From the soaring anthem of “Sister Christian” to the thunderous riffs of “Don’t Tell Me You Love Me,” and fan favorites like “You Can Still) Rock in America” this album’s ‘Best Of’ collection captures the very essence of their decades-long career — now refreshed for 2026.
Featuring the classic hits alongside standout tracks from their more recent albums, this compilation spans the full spectrum of NIGHT RANGER’s signature sound: anthemic choruses, blazing guitar solos, and unforgettable melodies. Highlights include the power-pop perfection of “(You Can Still) Rock in America,” the heartfelt balladry of “When You Close Your Eyes,” and the cinematic sweep of “Four in the Morning.”
But the ‘Best Of’ is not just a look back. It also celebrates the band’s creative output over the last 20 years, spotlighting tracks like “Time of Our Lives,” “High Road,” “No Time to Lose,” “Somehow Someway,” and “Truth,” proving that NIGHT RANGER’s energy, songwriting, and musicianship have only grown stronger with time. These songs show that the band continues to innovate while staying true to the melodic rock roots that made them legendary.
The band— Jack Blades (bass and vocals), Kelly Keagy (drums and vocals), Brad Gillis (guitars), Eric Levy (keyboards), and Keri Kelli (guitars) — delivers every track with the energy and precision that have kept NIGHT RANGER at the forefront of rock for more than four decades.
This ‘Best Of” album also features two bonus tracks that make this collection of songs truly special: a fresh take on “Wasted Time” recorded live off the floor at Sweetwater Studios, also accompanied by an exclusive music video, and a festive live performance of “Feliz Navidad” that showcases the band’s playful side.
Perfectly timed ahead of their summer 2026 tour, this ‘Best Of’ album serves as both a definitive introduction for new fans and a must-have collection for longtime followers. Whether revisiting the classics or discovering the new 2026 remasters, NIGHT RANGER’s ‘Best Of’ is a celebration of enduring melodies, electrifying performances, and the unforgettable spirit of one of rock’s most iconic bands.
If you like your ’80s keyboard/synth heavy pop-rock, you will dig this! LOCKHART’s first full album City Pulse comprises of 9 tracks, 7 easily likeable synth driven rock tunes (most including a cool guitar solo), and 2 ballads (one being just a keyboard instrumental piece). Think Toto, Journey, Survivor, ’80s Heart… If this was released 40 years ago, there’d be a few potential hit singles, and one could easily imagine a few of these tunes in some ’80s movies, such as the final cut “No Chance In Heaven” fitting nicely in a Rocky film!… Best picks would be “Can’t Shake It”, “Together As None”, and “You Wouldn’t Know Love”.
Lockhart is a new melodic rock/AOR band from Canada, fusing synthesizer-fueled eighties arena rock with classic hard rock. The trio consists of Devon Kerr (vocals, guitars, keyboards), Jason Junop (bass) and Fabio Alessandrini (drums). Jason is best known for his work in Cauldron and Goat Horn. Devon’s main band is Axxion, and Fabio plays or has played in Bonfire, Enforcer, Annihilator, Hardline and many others.
Lockhart issued their debut EP “No Chance” in 2022, followed by the single “City Pulse” in 2025. The band has signed with High Roller Records, and their first full-length album “City Pulse” is now ready to be unleashed to the public.
It’s hard to describe the specific sound of Lockhart in all its details but on “City Pulse” you will certainly hear a lot of Journey, Boston, Toto, Foreigner, REO Speedwagon, and maybe even some Starcastle. “The influences are endless,” comments the vocalist, guitarist and keyboard player Devon Kerr, “and they go deep. I appreciate the comparisons. These bands are monumental. Lockhart has a sound of its own though. Bands that existed during the times you mentioned definitely provide influence! However, if you look past the surface (overdriven guitars and old synthesizers), you’ll hear influences from 50s doo wop, legends like Brian Wilson, and straight up choral music, too.”
Compositions such as “The Dose That Made You Poison”, “Under Fire”, “Before The Fall’” or “Together As One” are very well constructed and flawlessly performed. “For me, songwriting is a deliberate process,” explains Kerr. “I set out a time and carve out the songs. Lyrics are written last. Once the song is ready, it undergoes hours of polishing to mold the perfect choir parts, guitar leads, and so on. Everything is very deliberate and carefully selected. Nothing was written by accident.” You can clearly hear that on “City Pulse”.
With their melodic, at times even poppy approach Lockhart may stand out a bit on High Roller Records. Devon Kerr: “Our music has so many elements that traditional metal fans value, but with something very different, too. Something that might be new for some of the High Roller Records fanbase. I mean for those unsure, we’ve got Nick from Municipal Waste shredding guitar leads on ‘You Wouldn’t Know Love’, and Ian from Cauldron on ‘Can’t Shake It’ …” MATTHIAS MADER
TRACKLISTING: 01 City Pulse 02 Can’t Shake It 03 The Dose That Made You Poison 04 Together as None 05 Under Fire 06 Just Can’t Wait 07 You Wouldn’t Know Love 08 Before the Fall 09 No Chance in Heaven
LINE-UP: Devon Kerr – lead & backing vocals, guitars, synthesizers, grand piano Jason Junop – bass, vocals Fabio Alessandrini – drums, percussion
Guest Musicians: Imogen Wasse – backing vocals on “City Pulse” & “You Wouldn’t Know Love” Ian Kilpatrick – guitar solo on “Can’t Shake It” Nick Poulos – guitar solo on “You Wouldn’t Know Love”
What started out as me compiling a list of my TRIUMPH ‘top 10’ (or something like that) I quickley got off track, as I went back to revisit the band’s entire catalogue. The band really started taking off with 1979’s Just A Game album, which featured the US breakthrough hits “Hold On” and “Lay It On The Line”. Prior to that, Triumph, who formed in the mid 70s, and signed to Canadian label Attic Records released a single in ’75 with guitarist Fred Keeler, doubt this got much attention at the time, but the band soon changed guitarists, bringing in Rik Emmett. Their debut album was released in ’76, and this is what I’ve been listening to the last few days. Those first 2 Triumph albums may be very overlooked, by myself included, but here I am wondering why I never gave this one much more time, and why I never hear anything from it on radio (we still occasionally hear the band’s cover of “Rocky Mountain Way” from the 2nd album).
From the opening acoustics of “24 Hours A Day”, which kicks in to a rocker, til the closing near 9 minute epic “Blinding Light Show/ Moonchild”, this album is classic Canadian hard rock. Triumph mixes Emmett’s acoustic guitar, along with borderline metal like “Be My Lover” (w/ talk box solo), “Don’t Take My Life” (reminscent of Hendrix’ version of “All Along The Watchtower”), “Streetfighter”, and it’s mellower Reprise. The second half picks back up the ‘metal’ with “What’s Another Day Of Rock n Roll”, “Easy Life”, and “Let Me Get Next To You”.
Triumph, later reissued as In The Beginning, may be the band’s hardest rocking album. I loved this early direction, and the energy of this album. They’d fine tune it over the years to feature those epics that mixed softer acoustic parts with hard rock from album to album. If you’re not familiar with this debut, I highly recommend checking it out.
Outsider Rock 
