Chez Kane: Estética Oitentista com Identidade Própria

Frontiers Records (Imp.)

Por Flavio Borges

Com Reckless, a cantora britânica Chez Kane reafirma sua posição como um dos principais nomes do hard rock contemporâneo com forte influência oitentista. O álbum é uma verdadeira celebração da estética sonora dos anos 80, combinando guitarras vibrantes, teclados marcantes e uma produção orgânica que valoriza cada elemento instrumental — tudo embalado por uma performance vocal segura e carismática.

A faixa-título, “Reckless”, abre o disco transportando o ouvinte diretamente para a era de ouro do hard rock. Os timbres de guitarra e teclado, aliados à sonoridade natural da bateria, estabelecem a identidade do trabalho logo nos primeiros segundos. O refrão explosivo reforça o apelo radiofônico da composição, enquanto o inesperado solo de sax adiciona personalidade e frescor à faixa.

Em “Personal Rock And Roll”, a energia é elevada. Direta e dinâmica, a música carrega forte potencial cinematográfico, remetendo às trilhas sonoras clássicas da década de 80. Com menos de três minutos, entrega um refrão memorável e um solo de guitarra eficiente, consolidando-se como um dos momentos mais vibrantes do álbum.

Já “Night of Passion” apresenta uma abordagem mais sofisticada, com forte influência do AOR. Os teclados assumem protagonismo, ampliando a paleta sonora e acrescentando uma camada mais madura ao repertório. Chez explora nuances vocais mais sutis, enquanto o sax e o solo de teclado reforçam o caráter melódico da composição.

O hard rock retorna com força em “Strip Me Down”, marcada por riffs imediatos e um refrão de fácil assimilação. A base sólida sustenta a interpretação versátil de Chez, enquanto o solo de guitarra figura entre os destaques técnicos do álbum.

“Tongue of Love” mantém a atmosfera oitentista com elegância. O baixo conduz a introdução, preparando o terreno para um refrão bem construído e melodicamente envolvente. A coesão instrumental evidencia o entrosamento da banda, resultando em uma das faixas mais cativantes do trabalho.

Mais acelerada e intensa, “Love Tornado” se destaca como a música mais pesada do disco. Com abordagem mais crua e menor presença de teclados, privilegia o peso das guitarras e a entrega vocal de Chez. A construção do refrão reforça sua vocação para performances ao vivo.

Em “Bad Girl”, após uma introdução que remete ao metal clássico, a faixa evolui para um hard rock consistente e pulsante. A bateria ganha protagonismo, com timbre preciso e impactante, contribuindo para a dinâmica do arranjo.

“Street Survivor” mantém o alto nível do repertório, apresentando backing vocals bem trabalhados e uma sólida interação entre baixo e bateria. A guitarra assume espaço para solos expressivos, enquanto Chez conduz a faixa com segurança e brilho.

“Too Dangerous” resgata a essência mais crua e energética do gênero. Simples, direta e eficiente, a música destaca a agressividade vocal de Chez, demonstrando amplitude e intensidade raras dentro do estilo.

Encerrando o álbum, “Bodyrock” aposta na estética clássica do hair metal. Com refrão direto, equilíbrio entre guitarras e teclados e uma base rítmica consistente, a faixa finaliza o disco mantendo a energia elevada e deixando a sensação de continuidade.

A produção de Danny Rexon (Crazy Lixx) é um dos pilares de Reckless, equilibrando modernidade e fidelidade à sonoridade clássica do gênero. Influenciada por nomes como Pat Benatar, Lee Aaron e Vixen, Chez Kane entrega seu trabalho mais sólido até o momento — um álbum coeso, vibrante e com forte apelo junto ao público do hard rock melódico.

Reckless não é apenas uma homenagem aos anos 80; é a reafirmação de que o estilo permanece vivo, relevante e capaz de dialogar com novas gerações.

***ENGLISH VERSION***

With Reckless, British vocalist Chez Kane further solidifies her status as one of the leading voices in contemporary hard rock with a strong ’80s-inspired edge. The album stands as a vibrant celebration of the decade’s sonic identity, blending soaring guitars, prominent keyboards and an organic production approach that allows each instrument to breathe — all anchored by Kane’s confident and charismatic vocal performance.

The title track, “Reckless” immediately transports listeners back to the golden age of hard rock. From its opening moments, the guitar and keyboard tones — combined with the natural punch of the drums — establish the album’s aesthetic direction. The explosive chorus delivers undeniable hook appeal, while an unexpected saxophone solo adds personality and a refreshing twist to the arrangement.

On “Personal Rock And Roll” the energy intensifies. Direct and dynamic, the track carries strong cinematic potential, evoking classic ’80s film soundtracks. Clocking in at under three minutes, it delivers a memorable chorus and a sharp, efficient guitar solo, making it one of the album’s most immediate highlights.

“Night of Passion” shifts gears with a more sophisticated AOR-driven approach. Keyboards take center stage, expanding the album’s sonic palette and adding a layer of maturity to the material. Kane explores subtler vocal nuances, while the presence of saxophone and a keyboard solo reinforces the song’s melodic depth.

Hard rock returns in full force with “Strip Me Down” built around punchy riffs and an instantly accessible chorus. A solid rhythmic foundation supports Kane’s versatile delivery, while the guitar solo stands out as one of the album’s technical high points.

“Tongue of Love” maintains the record’s ’80s atmosphere with elegance. The bass-driven introduction sets the tone before unfolding into a well-crafted, melodically engaging chorus. The band’s cohesion is particularly evident here, resulting in one of the album’s most captivating cuts.

Faster and heavier, “Love Tornado” emerges as the album’s most intense track. With a rawer edge and reduced keyboard presence, the song emphasizes driving guitars and Kane’s commanding vocal performance. Its anthemic chorus structure makes it a natural contender for live setlists.

Opening with a nod to classic metal, “Bad Girl” evolves into a solid, pulsating hard rock anthem. The drums take a prominent role, delivering precision and impact that enhance the track’s dynamic flow.

“Street Survivor” sustains the album’s high standard, featuring well-layered backing vocals and a tight interplay between bass and drums. Space is given for expressive guitar work, while Kane once again commands attention with a radiant vocal performance.

“Too Dangerous” captures the genre’s raw, high-energy essence. Stripped-down and straightforward, the track highlights Kane’s vocal intensity and range — qualities that set her apart within the melodic hard rock landscape.

Closing the album, “Bodyrock” leans confidently into classic hair metal aesthetics. With a direct, hook-driven chorus, balanced guitar and keyboard arrangements, and a steady rhythmic backbone, the track wraps up the record on an energetic note while leaving listeners wanting more.

Produced by Danny Rexon (Crazy Lixx), Reckless strikes an effective balance between modern clarity and faithful adherence to classic hard rock traditions. Drawing inspiration from artists such as Pat Benatar, Lee Aaron and Vixen, Chez Kane delivers what may well be her most cohesive and compelling work to date — a vibrant, hook-laden album poised to resonate strongly with fans of melodic hard rock.

Reckless is more than a nostalgic tribute to the 1980s; it is a confident statement that the genre remains alive, relevant and capable of connecting with new generations.

Danny Rexon

Interview - Danny Vaughn: The Voice of Tyketto talks about The Band, career, and gigs in Brazil

 

After 15 of his last visit to Brazil, the voice of Tyketto, Danny Vaughn, will return to the country soon for three presentations, one of them, in SP (19/08), with tickets sold out. But for those who couldn't get a ticket for that first date in São Paulo, you can buy a ticket for the show the next day (20/08) with a totally different setlist. (acesse aqui a versão em português)

Danny Vaughn began to gain worldwide fame after the release of Tyketto's first album, "Don't Come Easy", that will be played in full in all concerts here in Brazil.

Before joining Tyketto, Danny was lead singer of Waysted, a band formed by the late and legendary bassist of UFO, Pete Way. When there are no commitments with Tyketto, Danny invests in his solo career and in acoustic shows in Europe and Spain, countrie where he has lived since 2009.

Before leaving for Brazil, the vocalist made some of his time available to us at Road To Metal to talk about the pandemic period, the beginnings of Tyketto, expectations for the shows here in Brazil and some other curiosities.

RtM: Thank you Danny for taking the time to talk to us and answer some questions. To begin with, I would like to know how his life was during the Covid-19 pandemic?

Danny: Hi Gabriel! How nice to talk to you. The pandemic has been a long story for all of us... At first it was a little scary, but there was also something liberating about it.

In Spain, we was locked in our homes for 47 days. Everything got difficult quickly. Then there was the time of real crisis, both national and personal, but there was also a renaissance.

RtM: You've been living in Spain for a while, what motivated you to leave Cleveland to experience the Spanish atmosphere?

Danny: I was born in Cleveland, but my parents leave there when I was less than a year old. We had to live in many countries, but I always think of myself as a New Yorker, because we moved there when I was seven and lived there until my twenties. I have lived in various places in the United States, but I moved to Ireland in 2004 and then, in 2009, to Spain. I love it here.

RtM: We also remind you that you recorded an album with the Spanish band Burning Kingdom, with guitarist Manoel Seoane (Delalma, who also played with Mago de Oz). Tell us how this experience was, and talk a little about this work.

Danny: I loved working with Manoel. He is one of the kindest souls you will ever meet. He is a brilliant and talented musician. They called me for this project because their singer had taken a lot of money and disappeared with the money. A mutual friend asked me if I was available to go to Madrid and help Manoel.

The worst part was that all the work was already recorded, so very little could be transformed. I had to write the lyrics and melodies to fit in with pre-existing work. It was very difficult, but I was happy with the result of the songs. Not very happy with the production and label.

RtM: A great Brazilian vocalist, who released an album on Frontiers Records two years ago, Alirio Netto, is also living in Spain. Because Hard Rock was more present in Europe than in the United States, was that also one of the reasons for moving to Europe?

Danny: Yes, a lot. I knew that I could continue my career in Europe, but not in the United States. I've always thought that in Europe and South America fans have a great memory, and they don't forget you when music scenary changes.

RtM: I was researching about you and I saw that we have similarities in some things... And both I, Gabriel Arruda, and you, were born in the month of July. I usually say that good people are born in this month (laughs). And the other coincidence is that you are the same age as my father.

Danny: So I'm the same age as your father? I don't know how I feel about it (laughs). Seriously, thanks for the kind words.

RtM: Last month you turned sixty-two years old. Fans of yours here in Brazil say you're singing a lot more and looking in better shape than when you were younger. Has going vegan helped keep you looking young, as well as, of course, keeping your vocal health in good shape?

Danny: I don't know if I look healthier than I did starting Tyketto, but I do know that I feel good for my age. I became vegan seven years ago and it has had many positive effects on my life. I definitely feel like I'm a stronger singer because of my diet.

Last year I had started eating fish again, so I don't call myself a vegan anymore. But I still don't eat other types of meat dairy products. I don't tell people what to eat, but this change worked for me. I am also in a wonderful marriage that has lasted 14 years and when you have your partner's full support it takes a huge weight off your shoulders.

And for being born in July (in the United States), our mothers will never allow us for being born in the hottest month of the year! Ha ha ha!

RtM: “Don’t Come Easy”, Tyketto’s debut album, is already over 30 years old. But the album came out at a time when grunge was dominating the music business. Do you believe that if the album had been released in the eighties the repercussion would have been better?

Danny: I believe so. The release of the album was delayed by Geffen Records because they were in the process of selling to Universal, so everything on the release list was pulled back. It cost us a lot.

RtM: Time was good for "Don't Come Easy", because the record still sounds current nowadays and is considered one of the best works in the history of Hard Rock. What were the best memories from that time when you released the album?

Danny: Well that was a long time ago. I have a vague memory of that. But I do remember that the day the album came out, some girls who were already fans of the band and knew where we lived – and we all lived in the same house on Staten Island at the time – went to Brooke, rang the bell and asked us to sign your albums. We love it.

RtM: “Forever Young” and “Wings” are the songs that open the work and the ones that made – and still make – more success among the fans. The album as a whole is spectacular, but most associate it with these two songs. After the launch, did you imagine that they would be so successful? And taking the opportunity, tell us how was the composition process of this two songs?

Danny: When you're a young musician, on the verge of becoming a rock star, your ego tells you that everything you do will be a huge hit and everyone will love it. But there's also that inner voice that tells you how much of your success comes from your luck.

I would argue that "Standing Alone" would be more impactful to people over the years than "Wings" or "Forever Young". Anyway, all we knew was that we had made a strong album. One we would have bought if someone else had made it.

We wrote all the songs with a lot of concentration and time, rehearsed almost every day and wrote and wrote until we had what we thought were the best ideas we could come up with. Some were fast, like “Wings”. “Forever Young” took forever. Everyone had ideas and opinions to use.

RtM: The way of consuming music has changed in recent decades, with streaming platforms having their positive and negative sides. How do you rate this issue? Many artists say that the values passed on are unfair, having this as one of the main negative points. On the other hand, have these platforms gained Tyketto, and of course you, a new fan base around the world?

Danny: You're never sure. Streaming across the music scene is a double-edged sword. Artists can achieve greater reach, but not make any money from it. Occasionally this will degrade our music quality.

RtM: In a few days, fans from Curitiba and São Paulo will watch and listen to “Don’t Come Easy” in its entirety. The songs that I am, and I think most are also, waiting to watch and hear live are “Lay Your Body Down”, “Nothing But Love” and “Strip Me Down”. Is there a particular song from this album that you enjoy singing live?

Danny: None in particular, although I had a lot of fun with “Sail Away”. It depends on the audience. I like it when people come and sing and clap and dance and let it all roll. A great show is a partnership between the band and the audience.

RtM: “Seasons”, “Standing Alone” – song that has one of your most praised vocal performances – and “Walk On Fire” are others that I'm looking forward to hearing live. And they refer a lot to the influence of Led Zeppelin and The Eagles, bands that were part of their musical formation. Tell us a little about them.

Danny: They really were an influence. I think that was part of the magic of the first album. We all have different tastes. Michael and I are more 70's, we like Led Zeppelin, Rolling Stones, Montrose and Grand Funk Railroad. Brooke was the expert on great guitarists like EVH and George Lynch. And yet we listened to newly formed bands like Night Ranger. Somehow we mixed it all together.

RtM: It won't be the first time that "Don't Come Easy" will be played in its entirety. One of these events is recorded on the live CD/DVD “Live from Milan”, only played in reverse. Will this feat be repeated here in Brazil – so that no one leaves after “Forever Young” and “Wings” – or will this time be chronologically?Danny: Well, a while ago, the Eagles learned the hard way that they shouldn't open with Hotel California. Many people's interest waned after their favorite song had already been played. I don't know what order we'll play it, but you can be sure that “Forever Young” won't be the first.

RtM: The last time you and Tyketto were here at Brazil was in 2008 at Hard In Rio, in Rio de Janeiro. You once said that you had the desire to perform in São Paulo, and that desire will come true soon thanks to Carlos Chiaroni, from Animal Records, together with the people from On Stage Agência. How were the negotiations for this show?

Danny: It was easy. Yes, Carlos is always in touch and we always talk about making it happen. But Rodrigo [Scelza] is the guy who brought us in last time and he's a great promoter. So when he got in touch the conversation was simple:

"Rodrigo: I want you to do 3 shows in Brazil this summer."

"Me: Absolutely!"

RtM: Tyketto's last album is “Reach”. In interviews you say that you have a greater appreciation for it than with “Don’t Come Easy”. The album would be a perfect (and natural) evolution if it had come after "Don't Come Easy". Comment about it.

Danny: Actually, I think this is the best Tyketto album. We were older, we were smarter and we were also really excited because we had Chris Green, Chris Childs and Ged Rylands in a studio for the first time.

We had already been on tour together and at that point we were ready to record. It was very exciting to make an album the old-fashioned way, living in a studio in Wales and having no distractions. Rockfield Studio helped us make such a great album.

RtM: Now a little about your beginnings in music, tell us who were your main inspirations and when and how you felt in your first experience on stage.

Danny: I'm inspired by anything and every kind of music. I love sound creation. It hypnotizes me. My parents had a huge, weird assortment of records, so I was exposed to music pretty early on. My first time on stage was at the age of 11 in the school choir.

I was a noisy, busy kid and they were trying to focus me on something. After 2 months of being in the choir I did a solo. We performed in church in front of my family and friends, it was Christmas performance.

And when my solo came, suddenly everyone was looking around to see where that voice was coming from, I had the attention of the whole church and I was moved!!

RtM: What a cool story Danny, thanks for sharing. Well, finally, can we expect a new Tyketto album in the near future? And what other projects do you have going on?

Danny: Now that Tyketto is coming back stronger than ever, we'll start working on new music and soon on a new album. I keep busy doing acoustic solo shows and these private shows around the world. It's a completely different experience than playing with a band, but I'm enjoying it. I have several shows booked in the fall in America.

RtM: Thank you very much for giving us your time with us. See you soon here in São Paulo...

Danny: Thanks Gabriel! I can't wait to play in Brazil.

Interview: Gabriel Arruda (with the collaboration of Carlos Garcia)

Editing / Proofreading: Carlos Garcia

Photos: Disclosure

Thanks: Ricardo Batalha (Editor-in-Chief of Roadie Crew magazine / ASE Music Press), Rodrigo Scelza and Filipe Barcelos (On Stage Agency)

Angeles: Hard/Heavy Raiz do Experiente Dale Lytle

O Angeles é um grupo originário desde o fim dos anos 70 na cena marginal californiana que viria eclodir nomes importantes como W.A.S.P., Mötley Crüe e Guns N' Roses. O grupo passou por diversas casas de espetáculos, dá para citar The Troubador, Whisky à Go Go e o Roxy ao lado do Bon Jovi, Quiet Riot, Dio, Metallica entre os grupos citados no começo do texto.

Apesar do status veterano e tocarem nos espaços de sucesso, nunca emergiram do seu gueto musical. Fizeram uma trinca de discos durante os anos 80 num cruzamento de heavy metal velha guarda todo macabro ao lado de canções glam. 

Nenhuma de suas realizações vislumbrou o sucesso. Na década seguinte o grupo desmantela-se voltando de forma trôpega ao longo dos anos sob diversas formações apenas remanescendo o guitarrista e fundador Dale Lytle.

Contudo, a década passada nos brindou com o retorno de alguns desses grupos dados como mortos. Lytle não só reforma o Angeles mas passa a lançar de forma recorrente novos álbuns - Hell On Heels de 2020 mantém o ciclo anual de lançamentos desde 2016. Nessa formação além de Lytle  temos o cantor Louis Collins, o baixista Cal Shelton e o baterista Danny Basulto.

O trabalho já não se vincula a fase dourada, mais parecendo um resgate de outras bandas de hard rock sepultadas dos anos 90 em diante. O resultado foram 8 faixas bem equilibradas.

"Hell on High Heels": Uma boa amostra do que aconteceria se o Guns N' Roses continuasse desde Spaghetti Incident ignorando a trágica sina do Chinese Democracy. Collins puxa essa voz mais envelhecida do Axel durante os anos 2000. Também se percebe uns toques de AC/DC na bateria.

"Apocalypse": Dona de um Riff pra botar respeito logo de cara, segue bateria cadenciada, pontes com tensão num certo verniz comercialzão. O solo é alavancado e choroso.

"Rolling Like Thunder": Talvez a melhor faixa do álbum, puxa ideias do Mick Mars, passagens meio delirantes, Collins canta atacado e Lytle abusa no dive bomb durante seus fraseados.

Angeles 2021

"Celebrate" e "Star Living" compartilham um lado mais farofento nos moldes do Poison, trechos sempre pontuados por algum "Yeee" "Uuuh" possuindo fraseados guitarristícos esfarrapados à lá Slash/Jimmy Page.

"Heal the Wounds": Tenta ser a música romântica vendida no pacote com algum ar de Yesterday do Guns N' Roses.

"Run": A mais extravagante, tenta fundir o exibicionismo metal com solos agressivos e ritmo veloz ainda que o núcleo da música caia sempre no esperado das demais canções.

"Holly Fenton": Dá uma leve surrupiada na "Kickstart My Heart". Collins num híbrido de Axel e Sebastian Bach canta o feijão com arroz desse estilo californiano.

Dale Lytle

Sem dúvidas foi um álbum bem vindo, achei um dos melhores visando tributo ao hard rock oitentista. No lugar de sintetizadores cafonas e proposta new wave, o Angeles despeja a experiência do que viveu ao longo dos anos e oferece faixas bem amarradas sem que uma fique idêntica a outra. 

O álbum faz questão de não ser muito bem ensaiado, traz aquela irregularidade que tanto os grupos atuais tentam esconder nas toneladas de maquiagem no Protools e pra nossa sorte evita aquelas baladas melosas. Recomendadíssimo! 

Texto: Alex Matos

Edição: Carlos Garcia

Banda: Angeles

Álbum: Hell on High Heels (2020)

País: EUA

Estilo: Hard Rock, Heavy Metal

Selo: Dark Star Records

Press: Split Screen Press (Tarja Virmakari)

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John Diva & the Rockets of Love: O "Hair Metal" Vai Bem Obrigado!

Colocar o álbum de estréia de John Diva & the Rockets of Love pra rodar, é voltar imediatamente aos tempos em que os cabelos armados, bandanas e visuais extravagantes dominavam as rádios e enchiam arenas, é só dar uma sacada no visual do líder John Diva, algo como um Vince Neil ou Steve Rachelle, e no dos demais músicos, e também em seus pseudônimos - Diva, J.J. Love, Snake Rocket - e nem precisa ouvir nada pra saber o que você pode encontrar em termos sonoros.

Segundo ele mesmo conta, o líder John Diva passou sua juventude cercado pela música de grupos como Mötley Crüe, Bon Jovi, Kiss, Danger Danger, Tuff , Hanoi Rock, Guns n' Roses e tantos outros - alguns alcançando o estrelato, outros com fatias menores.

O fato é que, mesmo talvez sendo algum número no estilo Steel Panther ou grupos como o Wig Wam, que me esforcei para lembrar o nome, e o que quero dizer é que John Diva traz vários elementos do Hard ou Hair Metal 80's, mas muito provavelmente não uma banda para se levar totalmente a sério, e que em breve pode sumir da nossa memória, ou quem sabe simplesmente seguir os passos do citado Steel Panther, mas isso não diminui em nada o mérito de "Mama Said Rock is Dead", que é um álbum muito legal.

Falando em se levar a sério ou não, basta dar uma olhada na história da banda e nos perfis dos músicos no site do grupo, como por exemplo a descrição do perfil do guitarrista J.J.: "Anteriormente viciado em mescalina e tequila. O último mexicano que superou o notório muro. É muito bom em tocar partes impossíveis na guitarra, tanto como em tudo mais relacionado a perder dinheiro" (ha ha ha).

Numa mescla do que os grupos acima citados tinham em termos de visual e sonoridade, o álbum tem uma excelente produção, a cargo do alemão Michael Voss (Mad Maxx, Michael Schenker e outros) e supervisão de Chris Von Rohr (Krokus), ou seja, na mão de gente que conhece o estilo.

As letras, em sua maioria, fazem alusão à festas e garotas, naquele espírito do Hair Metal 80's. Em termos sonoros, a banda é muito competente nos seus instrumentos, John tem uma voz talhada para o estilo (e sem aqueles agudos estridentes demais, como um Axl) e mandam ver em Hard Rock com pegada, refrãos grudentos, melodias pegajosas e pra levantar o astral.

Os fãs do estilo certamente vão curtir temas como "Whiplash", com sua cozinha de peso e trabalho destacado nas guitarras;o balanço de "Lolita", que me lembrou um algo de Van Halen.

A celebração "Rock'n'Roll Heaven", numa levada mais cadenciada, numa linha tipo "God Gave Rock'n' Roll to You" ou "Wanted Dead or Alive", presta uma homenagem a músicos que já partiram, e ao contrário do que a maioria diz, Diva e os "rockets" afirmam que não há lugar para o Rock'n'Roll no inferno, e todos vivemos no nosso paraíso do Rock'n'Roll. Com direito aquela tradicional paradinha pra chamar a galera pra cantar junto e  órgão de igreja no finzinho.

Destaque ainda para "Wild Wild Life", que além de seu refrão altamente pegajoso, traz um belo trabalho nas guitarras, inclusive algumas melodias com guitarras gêmeas; a baladona "Just a Night Away", a encorpada e cativante "Toxic" e a grudenta e cadenciada, e também com jeitão de hit, "Fire Eyes".

Uma grata surpresa para os fãs do estilo, trazendo todas as nuances e clichês do Hard Rock/Hair Metal dos anos 80 e comecinho dos 90. Convencem no que se propõem e atingem em cheio os corações saudosos de álbuns com aquela pegada e aura 80's, com um ótima produção e som encorpado. Se você curte o estilo e as bandas citadas acima, pode mergulhar sem medo.

Texto: Carlos Garcia

Ficha Técnica:

Banda: John Diva & The Rockets of Love

Álbum: "Mama Said Rock is Dead"

Estilo: Hard Rock, Hair Metal 80's

País: USA

Produção: Michael Voss

Selo: SPV Steamhammer

Lançamento no Brasil via Shinigami Records

Line-up:

John Diva: Vocais

Lee Stingray: Bateria

Snake Rocket: Guitarra

Remmie Martin: Baixo

J.J. Love: Guitarra

Tracklist

1. Whiplash

2. Lolita

3. Rock ?N? Roll Heaven

4. Wild Wild Life

5. Blinded

6. Dance Dirty

7. Just A Night Away

8. Fire Eyes

9. Get It On

10. Toxic

11. Long Legs In Leggins

12. Rocket Of Love

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