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BCCRock Radio Show Best AOR Albums of 2016

This year it was too hard to count the TOP 20 so here is The BCC Rock Radio show TOP 26 

2016's Best AOR Melodic Rock albums !

The BCC Rock radio show is broadcasted every week on 80 french speaking radios and on BCC Rock Radio 

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Here is The BCC Rock Radio show TOP 10 Best Southern Rock - Blues Rock album of 2016

The BCC Rock radio show is broadcasted every week on 80 french speaking radios and on BCC Rock Radio 

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Heavy Metal And Hard Rock News

  • BLABBERMOUTH.NET Feb 21, 2017 | 00:42 am

    It's not often one band, made of constituents from another, gets praised for emulating the latter. Yet BLACK STAR RIDERS has freely recreated THIN LIZZY for a modern generation, one who missed out on THIN LIZZY's glory days. If you're lucky, you'll catch "Jailbreak" or "Cowboy Song" on a gimmicky deep-cut weekend via FM classic rock radio, which has criminally relegated THIN LIZZY to the one-hit-wonder ranks. Whether you dig it or not, there's a reason THIN LIZZY carries on without its Yoda. Ditto for why BLACK STAR RIDERS exists on the side, and, it might be argued, better realizes its mission to protect Phil Lynott's gifts to us before they drift in vain.Now dropping its third album, "Heavy Fire", one must appreciate the moment in 1974 when a young Scott Gorham jammed with rock royalty in order to see what a success, 40+ years on BLACK STAR RIDERS has made of itself. Said fragment of time, where Gorham rocked out with Phil Lynott and Brian Downey, rings true all over this album: just as it did on BLACK STAR RIDERS's previous two. Not every inch of "Heavy Fire" mirrors THIN LIZZY, which is why this band has cred. When the group is in the way-back machine, however, the resemblance can be uncanny—save for the wanting echoes of Lynott, loosely interpreted in this act by Ricky Warwick.The title track aims for a brisk hard rocker with less focus on THIN LIZZY. The track pitches eighties American heavy metal with blues rock, and is given both a modern polish and new-gen strut. Ricky Warwick doesn't imitate Phil Lynott in pitch on "When the Night Comes In", but he does drop a noticeable tip of the cap in his pentameter. While THIN LIZZY absolutely plays into the verse scheme on "When the Night Comes In", the choruses stamp louder with the cracked universe preamble of, "this is a call to innocence, this is a call to arm yourself." They're delivered with an addictive upswing, swollen proudly by the backup vocals, which elevate Warwick and the guitar section. It's a larger-than-life rocker you have to scratch around for harder than ever these days.It's hard not to chuckle upon sight at the title "Dancing with the Wrong Girl" (ditto for "Thinking About You Could Get Me Killed"), but if you're at home with BLACK STAR RIDERS's THIN LIZZY facsimiles, you'll have a ball with this number. What is Phil saying from the other side about a song so veritably THIN LIZZY from top to bottom? Afterwards, "Who Rides the Tiger" muscles up with thicker riffs, shifting toward booming thunder rock, which could've belonged to Lynott and company had fate taken a different course. Give BLACK STAR RIDERS credit though: with each album, the unit pushes the THIN LIZZY card as far as it dares as both reminder and tribute. The band rides this tiger like a champ before anyone has a chance to decry shark jumping. Accordingly, Scott Gorham and Damon Johnson tear the hell out of the solo section atop Jimmy DeGrasso and Robbie Crane's rumbling groove.Given that THIN LIZZY operated during the political upheaval between superpowers, and given the sudden awkward tensions between them yet again, there's no irony lost with "Cold War Love". Even if cleverly disguising a frigid stalemate between lovers on the edge of breakup, it's hard not to let the mind drift toward broader urgent matters with this inherently snarky cut. The swinging "Testify or Say Goodbye" afterwards is more direct with its implications about global turmoil, embracing a neo-hippie ethos, "let this great world spin around and round and round…". This, after challenging American gun laws with "Who Rides the Tiger".Robbie Crane's thorny bass lines lead the grumbly "Thinking About You Could Get Me Killed", as the song grooves hard on rails planted both by THIN LIZZY and GUNS N' ROSES". The riff-splintered, funk-bombed opening to "True Blue Kid" settles into homey choruses chuffed by Ricky Warwick, whom you can imagine was pointing his index finger toward the heavens while recording his tracks."Ticket to Rise" cleverly retools THE BEATLES's core riffs from "Ticket to Ride" and drops a heavy THIN LIZZY swing upon the song. It's the song's fun, swimmy choruses that make it a pleasure trip and summarize the spirit of retro reinvention, which BLACK STAR RIDERS shoves with self-satisfaction. Chances are, you'll join the band's glee and go to "Bad Reputation" after spinning "Heavy Fire", not out of spite, but with a celebratory mindset.

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  • BLABBERMOUTH.NET Feb 21, 2017 | 00:39 am

    "Dooooooooog will hunt!"One thing about running your own horror festival, the residual effects are seemingly limitless. Phil Anselmo, who's been inadvertently dogging the underground press with his multiple doings, has yet another project to unveil. It's a unique endeavor, and a pretty damned cool one, at that.Picture, if you will, the actor who portrayed two cult favorite villains, Chop Top and Otis, scrawling autographs for a group of fanboys, when the host of the Housecore Horror Fest and PANTERA/SUPERJOINT/DOWN (fill in the Anselmo alma mater blanks yourself) vocalist becomes an unexpected musical ally. Most horror nuts will attest, Bill Moseley stole the show in Tobe Hooper's "Texas Chainsaw Massacre 2", a tough act, considering his equally wacky co-stars. That campy romp being, in this writer's opinion, the only sequel worth a salt in the inexplicably long-lasting Leatherface canon, and, in 1986, it turned Moseley into a short-term sensation. He, along with Sid Haig, William Forsythe, Ken Foree, Leslie Easterbrook, Danny Trejo and Priscilla Barnes, wove their way-back charms again in 2005 with Rob Zombie's trash epic, "The Devil's Rejects". Of course, the frenzied legacy of Moseley's Otis had already been staked in a film prior with Zombie's "House of 1000 Corpses".You may or may not be aware, but Bill Moseley's since been pursuing music. Perhaps Rob Zombie lit Moseley's pilot with the same quick-snap zeal as Chop Top's trusty Bic in "Chainsaw 2". Or, Moseley has simply been following a calling, as his napalm-blasted alter ego did by tormenting his "faaaaave" radio DJ, "Stretch".Back in the saddle with SUPERJOINT and continuing to drop material into his various outfits like a Playskool shape game, Phil Anselmo brings his wares to Bill Moseley's creepy lyrics and wiry vocals for a six-song collaboration, "Songs of Darkness and Despair". Anselmo and his trusted engineer Stephen "The Big Fella"/"Prick Rubin" Berrigan (SUPERJOINT / DOWN / PHIL ANSELMO AND THE ILLEGALS / EYEHATEGOD / GRISTNAM / CLASSHOLE) supplied production and instrumentation for this EP.Because of their mutual connections, "Songs of Darkness and Despair" is supplemented by guest performers: SUPERJOINT's Kevin Bond with guitars, KING PARROT's Squizzy Squires on bass and guitar, and Jose "Blue" Gonzalez (SUPERJOINT/PHILIP H. ANSELMO & THE ILLEGALS/WARBEAST) with percussion. Moseley himself has a solo record, "Spider Mountain", and he worked with Buckethead on the zany shredder's CORNBUGS project.So naturally, the prevailing question looms: What's this thing gonna sound like? A proto-pounding deathbot with freebird-thrusting horsepower? A holy-rolling mess worthy of a squashed armadillo on a Texas interstate? A party package for fiends who mumble "Stihl" in their sleep with wafts of ghost pepper-flared human chili breezing from their snores? Well, folks, this may be one of the coolest things you hear all year, because "Songs of Darkness and Despair" is a wooly affair with buzz bombs, unnerving lucidity and occasional social conscience. This from a horror figure in league with someone who just might've taken a torched coat hanger to his own angry dome on occasion."Dirty Eye" is an instant grabber, a kinda-sorta doom and kinda-sorta boogie blaster. It carries a nasty stride and deafening chords as Bill Moseley chimes along in the vein of Les Claypool with less nasal inflection. While Moseley's pipes aren't perfect, they're not too shabby, either, and they drop "Dirty Eye" into an appropriately sordid place. Even better, the guitar solo rips louder than one of ol' Bubba's saw-gasms.How can you not roar at the title "Corpus Crispy"? While the temptation to rumble that this thing is great, the bipolar method applied here is much tastier. The slinking samba groove and harrowing twangs to "Corpus Crispy" ring of Nick Cave as the track sashays into a squirmy corner presided over by random sitar plucks and conga clapping. The song's figurative Spanish dancers nestle happily into a pool of grue nattered over with sadistic glee by Bill Moseley."Catastrophic"'s ruthless riffs are cut to the point The Cook might take Grandpa's mini-sledge to his own outraged eardrums. Moseley drops a slew of F-bombs amidst the skulking din around him including the fuming edict, "Save our fucking children!" Did Chop Top inhale too much Agent Orange and turn activist? Fret not, gore hounds, for "Tonight's the Night We Die" is the haunting anti-ballad you're clamoring for. The somber guitar lines and Bill Moseley's morbid chanting emits a shivery and strangely beautiful death ode, sick as it may ring.Wrapping with a grimy, MISFITS-chucked chum over "Bad Donut", Bill Moseley plays sociologist, spooling his spot-on observations about human behavior. Its ugliness is no doubt served by the minions of terror junkies hounding for his autograph as much as the mindless drones of mainstream society.People are asking a hundred dollars-plus for Otis action figures, three to four hundred for a Cinema of Fear series Chop Top. Danny Elfman and OINGO BOINGO chanted, "No one lives forever," in "Chainsaw 2" and Otis went out in spectacular fashion to LYNYRD SKYNYRD. Thus, immortality, if not career longevity, is measured according to demographics, not screenwriters. That being said, who saw this coming?

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  • BLABBERMOUTH.NET Feb 21, 2017 | 00:21 am

    I hesitate to be "that guy" by starting this review as many writers no doubt have over the years when coming to a Mike Tramp project, but unfortunately, needs must. You're likely unaware that the Danish dynamo has done a ton of work outside of WHITE LION. That band had a quick, profitable run from 1985 through 1991 where "Wait" became the ultimate lovesick puppy's cry jam. Dropping a final get-together album in 2008, "Return of the Pride", Mike Tramp and WHITE LION separated for good. Hardly loafing about in wait for the world to revive "Pride" as its rock du jour, following a brief run in his early 1990s band, FREAK OF NATURE, Tramp has steadily created solo music. Don't look now, people, but Mike Tramp is coming upon 40 years as a musician, considering his earlier bands MABEL and STUDS and including ßthe release of his 10th solo album, "Maybe Tomorrow".WHITE LION fans clinging to the past are likely to continue going hungry for new material, which does present a possible point of contention for Tramp coming into "Maybe Tomorrow", which is being released only a year after his last solo outing, "Nomad". Tramp states, "When people ask me, why I have made a new album and what it's about, I find myself dumbfounded or even lost for words. To me, what I do is who I am. It might have taken me quite a while to reach this place where I feel so at home, and also where I belong. A place where my music is simply an extension of who I am. It might not sound that interesting or mysterious! But in what other way can I express that my songwriting and music is the truthful life of Mike Tramp? I don't want to be anything else or try anything new. I am a torchbearer of my heroes and an offspring of my inspirations. I have not only moved away from the past, but I have grown and I have made my stand."What's nice about Mike Tramp, all these years later, is his honesty and confidence. He has settled vocally, and any high-pitched squelching he was compelled to peel off during the WHITE LION days has matured into a sage, everyday rocker's intonation. Accordingly, his music on "Maybe Tomorrow" has settled into a country-based form of adult contemporary rock. This isn't to say "Maybe Tomorrow" is Barbara Streisand or Neil Diamond; it's more like Bruce Springsteen or John Mellencamp at their calmest. Consider that caveat or invitation.When you have sedate song titles like "Coming Home", "Spring", "Would I Lie To You", "What More Can I Say" and "Leaving One Day", you can all but expect equally sedate tones to accompany them. Coming into "Maybe Tomorrow", you're equipped with the knowledge that Mike Tramp has created a sound space to clear his mind and recharge. If you're in search of the same, then "Maybe Tomorrow" is your safe zone. It's the safest set of songs you're likely to approach from a hard rocker, the new CANDLEBOX album notwithstanding.There's not a lot of song-by-song description needed to convey the feel of "Maybe Tomorrow". Positively, Mike Tramp's vocals are terrific. "Rust And Dust" and "Leaving One Day" are the heaviest this album gets, and that's only because of the thick, turned-up riffs in the openings for both. That's about it. The rest, like the entire album, follows simplistic bass lines and strumming acoustic waves with organs playing howdy-do to keep this album wholly grounded. The piano-escorted "Time And Place" is this album's moment of grace. Here Mike Tramp lyrically bleeds all over it, pulling on a deeper heartstring than he ever did plying for tail on "Wait".Not that WHITE LION was ever the heaviest band on the planet, but it's evident "Maybe Tomorrow" is strictly for Mike Tramp, who has family to tend to and a smaller stage to dog. To his credit, he could still be following his contemporaries' paths trying to emulate "Pride" and "Big Game" as if the way back playback is the subscription to longevity. "Maybe Tomorrow" isn't going to get Mike Tramp back to the fore of rock supremacy (albeit his 2014 album "Museum" peaked at number three on the Danish charts), but that's certainly not his motivation here. "Why Even Worry At All" says it all, lyrically and musically. "Would I Lie To You" is not the pumping, guitar-wreaked angst as the EURYTHMICS banged out ages ago. This is the sound of a guy trying to find a reason to smile in the mirror every day, and this unruffled, reflective album likely plants it firm.

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AOR Melodic Rock News

  • News Feed Feb 21, 2017 | 06:01 am

    Rock Candy Records Latest - 707, KING KOBRA, CREED, OUTLAWS

     
    The following seven new Rock Candy titles are all available now from www.rockcandyrecords.com for a discounted price.
     
    KING KOBRA 'READY TO STRIKE' CANDY298

    “ALTHOUGH THE AMERICAN market place was bursting with many great, hip thrusting rock bands during the 1980’s, some of them multi-platinum sellers such as Mötley Crüe, Quiet Riot and RATT, there was always, we thought, room for talented new contenders. For King Kobra this was an invitation from heaven, launching onto a landscape that was primed for production of killer hard rock, shifting enormous quantities of it, and ruling the airwaves.

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  • News Feed Feb 21, 2017 | 03:05 am

    DRAGONFORCE Are 'Reaching Into Infinity' On May 19

     
    International metal superstars DRAGONFORCE have revealed details of their forthcoming, brand new studio album! Reaching Into Infinity will be released via EarMUSIC/Sony Music Australia on May 19. Formats are, Digital, CD, LP and a special edition CD and DVD.
     

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  • News Feed Feb 21, 2017 | 03:00 am

    DRACULA Back For A Second Bite

     
    Frontiers Music Srl is excited to announce that the production of a follow up album to the successful DRACULA “Swing of Death” release has started under the direction of the main songwriter and guitar player, Trond Holter.
     
    While the original plan was to leave “Swing of Death” as a unique, one-off musical extravaganza, the success that the rock opera had after being staged in front of audiences in Norwegian theaters convinced Trond that a follow up was possible. Not to mention, he was also sitting on plenty of material that did not find a home on the debut album.
     
    The new album will feature the full live line-up, including:
    Trond Holter: guitars

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