No fake objectivity here. I love Steve Grimmett's voice. There, I've said it. As the old cliché goes, he could sing the phonebook and I'd be happy.
No political correctness here. If Grimmett had looked anything like Coverdale he would be a household name instead of a cult figure.
No
Lionsheart here either. Now known as the Steve Grimmett Band, formed by Grimmett and old sparring partners, Ian Nash (guitar), Pete Newdeck (drums) and Richard Walker (bass). Walker played on several
Lionsheart demos. Nash and Newdeck need no further introduction.
Superbly produced by Newdeck, with a little help from the ubiquitous Dennis Ward,
'Personal Crisis' is full of hard edged heavy rock that only occasionally strays into the cold, uncluttered fringes of melodic metal. All other things being equal, it should springboard Grimmett back into the Rock/Metal Premier League in one huge bound.
Surprisingly, Grimmett's voice has lost none of its vigour or intensity with the passing of the years. He still grasps those high notes when he reaches for them, holding on with unquestioned confidence and projecting them with lung bursting power.
'Karma' is a convincing opener. Built around an aggressive guitar motif, laced with power metal rhythms, it's a full bodied, red blooded re-entry point for the band. Just ignore the psychobabble.
'Wait Forever' is an interesting track.it's like what you imagine
Trevor Rabin might be doing now if he hadn't (understandably) succumbed to Jerry Bruckheimer's lucrative job offer.
Ian Nash is a busy guitarist, he's not one to leave much space between. On the other hand he unarguably decorates the band's music with measured, melodic fret melting and note bending. His well thought out and often visceral riffs, fills, frills always fit the moment, the lyric, the verse, the chorus. Listen to the Japanese bonus track 'I'm Your Nightmare'. He lifts this track up and out of its metallised groove into something a little more special via a blistering, sharp edged axe solo.
The darkly hued,
T Ride like '
Freedom' and the high velocity '
Enemy' are apt and timely reminders of Grimmett's BHM roots.
'Invincible' is a convincing foray into contemporary rock territory, though it's quickly followed by a return to more familiar ground.
'Afterglow' is a pulsing, power metal stomp that comes out biting and snapping, seeking out the jugular from the opening moments.
Talking of Coverdale,
'Lonely' has a distinct '
1987 / In the Heat Of The Night' feel. And now that
Whitesnake seem to be content with self parody, there's a clear opportunity in that market for Grimmett.
Crisis, what crisis?
Written by
Brian Sunday, November 4, 2007
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