I’ll have to admit I really thought in such a long career that John Corabi would have released a solo album but apparently not, the rock n roll journeyman has featured on a lot of albums with a lot of big bands but New Day is his first solo record ever.
Recorded in Nashville with Marti Frederiksen, it’s an album inspired by Corabi’s musical diet growing up, as well as the heritage of Nashville’s incredible music scene. Perhaps unsurprisingly it’s swaddled in 70s rock, soul, and blues. Inspired by bands like CCR (1969), Free (That Memory), Tom Petty (Laurel) and any of those that blend honest blue collar lyrics with the American music traditions, plus a Sly & The Family Stone cover to close the album.
Featuring two previous released singles and another 9 original tracks, New Day is Corabi delivering rock n roll that is authentic, soulful and steeped in bright retro vibes. Corabi’s vocals are warm and feel like this is the type of music he should have always been making and while I’ve never been a fan of Dead Daisies or his time in Crue, I do love The Scream and Union and I love this record too.
Behind Corabi’s great vocals which blend Paul Stanley with Gene Simmons, Martin and Evan Fredriksen who play guitar, piano, drums, bass, B3 and mandolin between them, perfectly capturing that 70’s rock vibe this album needs. The addition of Richard Fortus (Guns N’ Roses) on lead guitar and Charlie Starr (Blackberry Smoke) with guitar solos, are also a perfect fit for the overall down-home, southern/blues style of the record, with Paul Taylor (Winger, Steve Perry) playing most of keys based instruments.
Track wise Faith, Hope And Love, is exactly what you expect it to be, similarly with the nostalgic When I Was Young, but there’s some gospel coming through Good To Be Back Here, as Cosi’ Bella takes on some power pop
New Day moves Corabi into ‘elder statesman’ territory, the years of rebel rousing are behind him, he’s got a good thing going on in Dead Daisies, however this album is the music he wants to make, influenced by his nautical loves but all of his own. 8/10
Degreed – Curtain Calls (Frontiers Music s.r.l.)
Frontman Robin Eriksson says that Broken Dreams, the dramatic first single from Curtain Calls shows “a darker and deeper side of Degreed”, as they bring more personal elements to this album than any previously. Robin especially highlights his journey away from addiction. It’s these personal stories that make Curtain Calls a vital new entry into Degreed’s discography, the maturity of the anthemic songwriting and the emotive nature of the lyrics.
Curtain Calls has got some arena ready slickness (Matter Of The Heart) with big backing vocals on the choruses, some driving rocking (One Helluva Ride), plenty of polish and energetic performances that draw from more than just AOR heroes, as Degreed have always courted the heavier edge.
The modern production and approach means that heavier side is more pronounced in the riffs (Guiding Light), aiming for the classic and modern rock charts with this album, armed with 10 tracks that can easily compete with any bands on a similar ilk European melodic metal on the title track, a nod to country and Johnny Cash on The Rambler.
Curtain Calls adds a flair for the theatrical, you can trace some of these songs to the likes of Kamelot and while melodic rock or heavy rock is still the foundation, there’s much more to Degreed than that on album eight. 7/10
Creye – IV Aftermath (Frontiers Music s.r.l.)
IV Aftermath is conveniently the fourth album from Swedish hard rockers Creye, you could call it ‘retro future AOR’ driven by Andreas Gullstrand’s guitar/songwriting. IV Aftermath gives the sounds of 80’s rock a modern overhaul that sits right there with the contemporary melodic rock bands that come from their home country.
Degreed – Curtain Calls (Frontiers Music s.r.l.)
Frontman Robin Eriksson says that Broken Dreams, the dramatic first single from Curtain Calls shows “a darker and deeper side of Degreed”, as they bring more personal elements to this album than any previously. Robin especially highlights his journey away from addiction. It’s these personal stories that make Curtain Calls a vital new entry into Degreed’s discography, the maturity of the anthemic songwriting and the emotive nature of the lyrics.
Curtain Calls has got some arena ready slickness (Matter Of The Heart) with big backing vocals on the choruses, some driving rocking (One Helluva Ride), plenty of polish and energetic performances that draw from more than just AOR heroes, as Degreed have always courted the heavier edge.
The modern production and approach means that heavier side is more pronounced in the riffs (Guiding Light), aiming for the classic and modern rock charts with this album, armed with 10 tracks that can easily compete with any bands on a similar ilk European melodic metal on the title track, a nod to country and Johnny Cash on The Rambler.
Curtain Calls adds a flair for the theatrical, you can trace some of these songs to the likes of Kamelot and while melodic rock or heavy rock is still the foundation, there’s much more to Degreed than that on album eight. 7/10
Creye – IV Aftermath (Frontiers Music s.r.l.)
IV Aftermath is conveniently the fourth album from Swedish hard rockers Creye, you could call it ‘retro future AOR’ driven by Andreas Gullstrand’s guitar/songwriting. IV Aftermath gives the sounds of 80’s rock a modern overhaul that sits right there with the contemporary melodic rock bands that come from their home country.
Tracks like Don’t Want To Talk About It are probably too modern for some ears, but then who wants a band rehashing old ideas from 40 years ago right, even if this song does sound like a Eurovision entry. Again Andreas is joined by Fredrik Joakimsson on rhythm guitars, Denny Karlsson on bass, and Vidar Savbrant on drums, the band not changed since the last record. Though there’s a new voice behind the mic as Simon Böös infuses the album with a new soul, his voice reminding me of Joseph Williams on Through The Window and Only You.
From the ballads, to the heavy riffers and pop rockers, Creye have come back with an album that sees their creative fingers in a lot of different pies, but what they’ve done well is successfully blend the old melodic rock style of the 80’s with what the genre is in 2026. 7/10
Generation Radio – Take Two (Frontiers Music s.r.l.)
Generation Radio are your classic Frontiers ‘supergroup’ and if you’ve ever wanted to hear the duo of Jay DeMarcus of Rascal Flatts and Jason Scheff, ex-Chicago and their ‘all-star’ band, play a covers of Whitesnake’s Here I Go Again, Kenny Loggins I’m Alright?
Then you are in luck as all of these feature on Take Two the follow up from Generation Radio. The band is comprised of made up of drummer Steve Ferrone (Tom Petty & the Heartbreakers), Tom Yankton (guitar, vocals) and Chris Rodriguez (guitar, vocals) and they also throw in Chicago’s You’re The Inspiration and Rascal Flatts’ These Days as extras if you’re really missing out on covers.
Which to be honest are the best bits about this record for me as Generation Radio is called “AOR/West Coast rock infused with the Nashville sound” but I’d call most of the originals here modern country, all about lost love and drinking whiskey and sleepy small towns.
Now ok there’s brief moments of slick AOR (Hate This Heart), but unless you’re a fan of modern country you won’t get much out the album. The production especially is extremely modern and destroys any soul these overly saccharine songs may have gained. It even makes Here I Go Again feel more 80’s than it ever did (and it is the 80’s version they cover).
You may like Take Two, I found it to be lifeless, sappy, modern country that doesn’t have enough AOR to be classed as such. 4/10
Generation Radio – Take Two (Frontiers Music s.r.l.)
Generation Radio are your classic Frontiers ‘supergroup’ and if you’ve ever wanted to hear the duo of Jay DeMarcus of Rascal Flatts and Jason Scheff, ex-Chicago and their ‘all-star’ band, play a covers of Whitesnake’s Here I Go Again, Kenny Loggins I’m Alright?
Then you are in luck as all of these feature on Take Two the follow up from Generation Radio. The band is comprised of made up of drummer Steve Ferrone (Tom Petty & the Heartbreakers), Tom Yankton (guitar, vocals) and Chris Rodriguez (guitar, vocals) and they also throw in Chicago’s You’re The Inspiration and Rascal Flatts’ These Days as extras if you’re really missing out on covers.
Which to be honest are the best bits about this record for me as Generation Radio is called “AOR/West Coast rock infused with the Nashville sound” but I’d call most of the originals here modern country, all about lost love and drinking whiskey and sleepy small towns.
Now ok there’s brief moments of slick AOR (Hate This Heart), but unless you’re a fan of modern country you won’t get much out the album. The production especially is extremely modern and destroys any soul these overly saccharine songs may have gained. It even makes Here I Go Again feel more 80’s than it ever did (and it is the 80’s version they cover).
You may like Take Two, I found it to be lifeless, sappy, modern country that doesn’t have enough AOR to be classed as such. 4/10
