Gabrielle De Val is a Spanish Singer, Songwriter and Voice-Over Actress, known for her role in The Val and most recently guesting on Bruce Mee’s concept album Circle Of Friends.

'Kiss in a Dragon Night', is Gabrielle's first solo album, organised and arranged by Bruce Mee. Together with producer Khalil Turk (Escape Music), he shaped the idea and created an album involving vocalists such as Steve Overland (FM), Mick Devine (Seven), Robin McAuley (MSG), Mark Boals (Yngwie Malmsteen) and Terry Brock (Strangeways) as well as musicians such as Gary Pihl (Boston), Eric Ragno (Joe Lynn Turner), Johan Kullberg (HammerFall) and Fredrik Folkare (Nordic Union).

And what a fine album it is too. Fresh, punchy production and a selection of memorable songs showcase Gabrielle’s powerfyul, yet smooth vocals, a perfect fit for melodic rock.

Her duet ballad with Robin McAuley is pure melodic bliss, the vocals entwining effortlessly.

Otherhighlights include the rocked up Mike Oldfield classic Moonlight Shadow; the upbeat opener Take On The World, with a classic AOR chorus; Pay For the Lonely Nights is classic 80s AOR while Candle In The Window is the Randall’s classic amped up to briliant effect.

Fight For Love (with Mick Devine) is another great duet, this time a faster paced anthem. And any song featuring Terry Brock is already a winner for me. Stayin‘ Alive doesn’t disappoint. No, it isn’t that song – it’s the classic Magnum song done perfectly.

There are no fillers to point out – just an album chock full of new songs and fresh takes, produced and mixed beautifully. For anyone that enjoyed the Circle Of Friends release, this is an absolute no brainers.

Fans of female fronted melodic rock and 80s style anthems with a modern touch will also appreciate.

Once you get past the absolutely horrendous “drum” sound and the somewhat muddy mix, the new House Of Lords (or on this occasion, House Of Spiro), offers some of the band’s best tunes in several years. A production budget would have raised the quality of this record to sit alongside some of my favourite HOL records.

I love the return to a more interesting musical landscape, a touch progressive even, much like parts of Sahara and Demon’s Down. The overall energy is similar to Demon’s Down too. But this is a different band again. As suggested earlier, the biggest influence and difference here is the genius of Mark Spiro. He has co-written most of the album, with his influence so strong there are at least 3, maybe 4 songs that are more Spiro than HOL. He is simply all over this record and his vocals can be heard on most tracks. In fact, he could feel unjustly denied a duet credits on We’re All That We Got and Better Off Broken. His influence over Change (What's it Gonna Take) delivers one of my favourite House Of Lords songs in years, The Both Of Us also impresses. The guys lose the plot a little towards the end, $5 Bucks Of Gasoline is about as catchy as it sounds and The Chase goes nowhere. 

Overall, despite that drum sound and the overall missing production elements, this is a very enjoyable record and their best in a few years. Spiro and James Christian have delivered some great songs for the most part and most of the record runs very smoothly.

You’d have to be almost dead not to get caught up in the infectious fun that is Tokyo Motor Fist. The name might conjure up thoughts of an ancient form of Japanese bondage, but at least they didn’t name themselves Trixter Danger.

Yes, the most talented Steve Brown (Trixter, Guitar) and the always flamboyant Ted Poley (Danger Danger, vocals) team with the rhythm section of Greg Smith (Ted Nugent, Rainbow, Alice Cooper) and Chuck Burgi (Rainbow, Blue Oyster Cult, Joe Lynn Turner) for what amounts to a meeting of the New Jersey chapter of the Melodic Rock Mafia, to create an infectious slice of classic 80s melodic rock that you just have to rock along with. While the album may not have the polish of a major 80s budget, it does pass the crankability test and shines when at maximum volume.

Following his great recent solo album, Ted Poley again delivers a powerhouse vocal while Steve Brown provides the backbone of the sound, his soulful guitar playing filling the air between hooks and choruses. The album is also a tribute to his songwriting prowess.For the most part this delivers exactly what you’d expect – a mix of modern day Trixter’s smart melodic rock and Danger Danger’s hands in the air party anthems. Look no further than the opening salvo of Pickin' Up The Pieces, Love Me Insane, Gimme Your Good Lovin Shameless and Black And Blue to deliver plus the moody feel good ballads Love, Get You Off My Mind and Don’t Let Me Go work to balance the record and provide breathing space between the rockers.

You're My Revolution brings out the double kick drums for a rousing tempo boost, but its Put Me To Shame and Done To Me where Steve Brown’s connection to Def Leppard seems to get dialled up. For a minute I thought I was listening to Sweden’s Leppard loving Grand Design.

How could fans of the two principle artists not be happy with this? It delivers exactly what you might have been hoping for, perhaps exceeding expectations with the strong hooks and great performances.No complaints here and given the positive fan reaction so far, one would have to think that this will develop further just as the ‘other’ D2 side project The Definants has.

Is it too soon to call Brother Firetribe legends of the Finnish AOR scene? Perhaps with this album, it is time. Their 5th studio album might just be their most accomplished yet. It certainly has the slickest production, the smoothest sound and the band’s most commercial modern rock approach to date.

The beauty of this album is perhaps the band’s ability to keep things reigned in a touch more than usual, without losing their edge. Past albums have seen them go all in with over the top anthems, but this album feels a little more restrained, a little more calculated towards the end goal – to deliver a world class modern melodic rock album that will help drive them into a bigger audience.

Naturally arming yourself with 10 killer songs is the way to achieve this feat and BFT do just that. From the subtle, but urgent opener I Salute You, to the sultry moodiness of Night Drive and the tempo altering intensity of Life Is A Beautiful Lie to the most obvious 80s anthem Rock In The City which closes the album.

The masterful production comes courtesy of Jimmy Westerlund, the who brought the same updated intensity to the latest One Desire album. If all these points appeal and you love an equal dose of guitars and keyboards with sultry strong vocals, then Feel The Burn is a must have record.

Pride Of Lions delivers album number six and probably their strongest since 2007’s The Roaring Of Dreams.

Jim Peterik and the brilliant vocals of Toby Hitchcock make a perfect team, with Jim’s more recent songwriting featuring a more theatrical lean and Toby giving those songs instant flair, but also steering the choruses back into AOR territory.

The album sounds a million bucks – the regular production team, including deskman Larry Millas, at Jim’s home studio have this down to a fine art. All we need is the songs.

Jim Peterik isn’t short in inspiration – I’ve never seen any man write as many ideas down as constantly as Jim does. Lion Heart picks the best 12 and follows a similar path to that of previous Pride Of Lions albums.

Lion Heart is the powerful opening number; Heart Of The Warrior is the feel good 80s soundtrack tune; Carry Me Back the sentimental AOR hook and Waiting For A Girl Like You Sleeping With A Memory is the moody 80s ballad.

Elsewhere Good Thing Gone, Give It Away and You’re Not A Prisoner mirror the best the band has offered while Now & Unfinished Heart bring the tears.

A terrific and highly recommended album.

I do note that Jim Peterik takes lead vocal on the first verse of every song, raising his vocal profile on this release above that of any before it. It does change the dynamic a little. His vocals are among the best I’ve heard from him, but Pride Of Lions has in my mind always been Jim’s songs and sound and Toby’s voice. Its not quite as cut and dry on this album. Minor point.

Australian teen sensation Orianthi started off as Avril Lavigne styled pop-metal singer/songwriter and quickly moved on to a more mature blues-based angst, but considering her career trajectory, she’s probably not where she should have been or wanted to be.

He debut indie EP was way back in 1999 and her major label debut was in 2009. 11 years on from that we’ve had just one other album (in 2012) and the collaboration with then partner Richie Sambora which yielded just one album which failed to get the attention it deserved.

So now she’s back and signed to Frontiers, not for a return to the AOR leanings of her youth, but rather a mature, experimental modern rock opus filled with vocal effects, a heavy emphasis on programming and a sound not often embraced by the purist Frontiers audience.

The aggressive modern rocker Rescue Me is decent; the acoustic ballad Crawling Out Of The Dark is an emotional highlight and the new single Impulsive is a catchier affair – but the video clip does it no favors.

Blow does just that; Sinner’s Hymn is a distorted modern mess and overall the album is just a little too tuned down and left of centre, not to mention seldomly moving outside a mid-tempo pace.

Not sure who this is going to appeal to besides established die-hard Orianthi fans, but at 917,000 FB followers, she'll likely sell to those, more than many other artists on the label. It’s not of the style that will see any crossover or mainstream success, but this review should generate enough hate mail for the time being.

Dennis De Young and Jim Peterik. One of the most brazenly honest and funny guys, who just happens to have a golden voice, together with one of the most earnest and likeable guys on this planet, who also happens to be one of rock’s greatest songwriters.

Together with the Peterik production infrastructure, the quality of this release was never in doubt right?

The only downside is there are only 9 full length songs here, with a decision made to split the productive writing and recording sessions into 2 albums. I hope the second volume maintains the high standard set here.

9 songs mean there isn’t a minute to waste. DDY brings the best of his soaring pomp Styx-like magic and JP brings his matching theatrical flair and AOR heart, ensuring that the duo achieve their aim.

There are rockers, there’s pomp, there’s a couple of spectacular ballads. Everything I was hoping of this union is right here. Proof that partnerships can’t be forced, they have to happen naturally.

I really miss the old Jaded Heart. The metal band that has evolved since Michael Bormann left now has next to nothing to offer old fans. This is without doubt their heaviest album to date and without doubt their least melodic, least likable and least memorable.

Its just bombastic riff after riff with a double kickdrum to accompany.

The band seem to have given up any pretence of songwriting, with nothing here standing out at all on first listen. Repeated attempts didn’t make any gains.

I thought Johan Fahlberg was a strong metal vocalist, but his tone here is horrible – more screaming than signing and there is no hint of melody in his singing.

The album’s promo sheet reads “Jaded Heart has always been a melodic band that writes songs with huge sing-along choruses and this album offers many of those!” Give me a break!!!

There is nothing here whatsoever to sing along with. It’s not until track 8, Embrace A Demon, that I can even hear a proper chorus.

Mixed and mastered by Erik Martensson, there is nothing to complain about with the sound, just the style, the songs and the singing. Worst Jaded Heart album ever. Change the name or re-think what you’re doing guys.

Shaft Of Steel – surely a metal band with a logo like that…and cover art featuring a medieval candelabra and goblet and even a fish mounted on the wall! Let’s get ready to rocwhaaaat? This isn’t bang your head, it’s more rather gently nod your noggin. These British rockers defy the visuals and deliver a classy bright and breezy, pink and fluffy AOR record that’s more akin to Work Of Art than their name suggests.

Its well worth the time and the effort. For a debut, it delivers more than might be expected and while they aren’t yet in the same league as WOA, anything is possible with a start like this. Just fix the visuals and tighten up production a little.

Shining Black should be a stand out record based on the names behind it. Another staged Frontiers partnership, the ‘band’ features vocalist Mark Boals (Yngwie Malmsteen, Ring Of Fire, Royal Hunt) and guitarist Ölaf Thorsen (Labyrinth, Vision Divine). Both are quality individuals, but for me this album doesn’t work.

It may be the songs don’t have the spark needed to be a high-profile release and it pains me to say, but Mark Boals doesn’t have any energy in his vocals. It sounds phoned in. He is a mile better than this. It’s a case of what could have been with this one.

The new Overland is another record that delivers almost everything expected of it – smooth, soulful AOR with the masterful Steve Overland bringing his godly dulcet tones to us undeserving mere mortals. It’s also pretty rockin in places – straight ahead hard rock to a more bluesier vibe. Rather than taking a cheaper, easier route, A rhythm section comprised of the evergreen Brian Tichy on drums and bass from Brian Anthony (Steve Walsh). You also get a super slick production and mix. Quality guitar work comes from Tommy Denander, but you do have to accept his processed and overly familiar sound comes along with that.

Can you believe this is actually Steve’s 5th Overland outing?! Time flies. Maybe not as catchy as previous albums, but still very good.

Not a lot to complain about here. Steve Overland demands purchasing, that’s about as simple of it gets.