THIS ALBUM CONTAIN(10-TRACKS)
1-TRAIN CROSSING
2-NOON SUN
3-A SALT MINE
4-ASHES AND DUST
5-FOSRTY
6-SHIFTING SAND
7-TIME TO RIDE
8-SNOWY PLAN
9-WLID WIND BLOWS
10-DESERT RAIN
CREDITS:
Ken Redding – Lead Vocals
Bill Menchen – Guitars
Tony Franklin – Bass
Robert Sweet – Drums
Great album! I enjoy all of Bill Menchen's music and this cd is one of the best ones that He has done to date. The Guitar Work, Vocals all go together so well. Robert Sweet does great like usual. I totally recommend this cd to every metal fanI think that Bill Menchen's music is just getting better and better. With this new project Menchen, Bill has assembled a team of musicians that really shine together. Ken Redding's Vocals are silky smooth. Menchen is just flat out ripping that guitar to shreds. Robert Sweet is a monster on drums. The best part, though, is the addition of the Bluesy Bass Licks from Tony Franklin. This alone MAKES this Album and adds a new layer to Menchen's music that is lacking on some of Bill's previous works. This was one of the best releases for 2008!,,Guitarist Bill Menchen seems to be a part of every other release from Retroactive records these days. He is part of Titanic and Seventh Power as well as Menchen. Joining him on this project are Bassist Tony Franklin (The Firm, Blue Murder) Drummer Robert Sweet (Stryper) and Vocalist Ken Redding (His Witness). Reportedly this album originally started out as an instrumental outing for Menchen and Sweet back in late 2007. However it quickly morphed into something more when Menchen felt that it really needed Vocals. "Red Rock" is more hard rock than metal if the distinction needs to be made. Picture a cross between Queensryche, Dokken and early Armored Saint. Bill Menchen is an incredible Guitarist and a fine song writer as well. He knows how to make his presences known by ripping off some monstrous Riffs, but he also knows how to build the song as well. The rhythm section of Franklin and Sweet work well together. Sweet playing is tight and to the point. Franklin helps manage the pace and cranks out some meaty bass parts that help texture to the band's sound. Redding has control, solid range and at times sounds similar to Geoff Tate. However he can be a stiff in his delivery at times. I am not sure if it always him or some awkward lyrics, but there are times where the pace is hurt some by the Vocals. Still those times are few and far between. There are moments where I think the songs would have benefitted from some involved musical passages. Minor complaints aside, this is still a fine effort with plenty to offer for hard rock fans.
“Train Crossing” gets things going with a bang, an energetic rocker highlighting a razor edged rhythm guitar sound and perfectly placed rumbling bass line. With its tasteful changes in tempo – ranging from low key verse portions to an animated chorus as catchy as they get – and sublime vocal presence of Redding, the song rates with the albums finest. “Train Crossing” touches upon the second coming:
The mid-tempo muscle of “Noon Sun” proves every bit as able. The song slowly fades in before charging ahead to a driving guitar riff bordering on the militant. Maintaining the steadfast momentum throughout its first verse, “Noon Sun” decelerates upon acquiring an ambient chorus in which the rhythm guitar fades to a backseat in the mix. The lyrics here are as every bit creative as the music:
“A Salt Mine” delivers some of the albums heaviest moments.The song finds an edgy rhythm guitar at the forefront of the mix, creating an atmosphere that borders on the dominant in capacity.The rhythm guitar does not give way, however, until a plodding chorus underlined by an acoustic guitar is acquired. Menchen stands out with his bluesy work on lead guitar.
“Ashes And Dust” heads in a straightforward hard rock direction. Featuring a brief but flowing chorus – which immediately gets things going – the song is driven from front to back by a powering guitar riff (backed by Robert Sweet’s technical presence on drums). Initiative does not taper until the song obtains a quieter passage, which soon gives way to an instrumental section featuring a blistering guitar solo. Job is the subject matter at hand:
The dark and weighty “Forty” plods its full length to a pronounced low end. Redding adds a complementary low key touch to his delivery, best highlighting the swarthy environs with the deep harmonizing he adds to the songs first several seconds.The chorus, of course, is superlative in featuring just the right amount of gripping – almost anthem-like – appeal. “Forty” deals with Christ’s temptation in the wilderness:
“Shifting Sand” comes across in the form of a groove laden hard rocker. Stalwart would be the best way to describe the song as it muscles through its verse portions in establishing a contrasting lyrical environment:
“Time To Ride”, with its tasteful changes in tempo, showcases some of the albums more creative moments. The song kicks in at once to an energetic guitar riff, spiritedly advancing through its first verse only to taper in a guttural manner for its bridge and near crawl for a catchy chorus sustained by a quietly played guitar. Beautiful. Menchen steps to the plate with a brief but bluesy stretch of lead guitar.
Plodding, intense and just plain heavy, “Snowy Plain” proves four minutes of heavy duty metal with its snarling rhythm guitar sound.The song begins slow and driving only to gradually build momentum, peaking to a crescendo of hard hitting riffs before abruptly tapering to a near doom-ish crawl as pummeling drums decorate the backdrop. Inspired would be the best way to describe not only the music here but lyrics as well:
The up-tempo “Wild Wind Blows” delivers a ton of groove. A touch of organ accents the song as it races its distance in establishing a frenetic scene, only briefly decelerating for a stylish chorus before regaining the lost initiative in unrelenting fashion. Menchen adds a run of bluesy lead guitar to a song based around John 3:8:
“Desert Rain” brings an inviting touch of the progressive. The song opens to a thunderstorm interwoven with a piano, calmly drifting until impetus abruptly builds as a hard rocking rhythm guitar takes over. “Desert Rain” proceeds to drive ahead with a ton of class – the melody here is huge – while Menchen wails away on guitar in the background. Things close in the way they began to a thunderstorm.
The best way to sum up would be to state that Bill Menchen, Robert Sweet, Ken Redding and Tony Franklin prove an unbeatable combination. When further factoring in the inspired songwriting and adept production values, Red Rock is certain to challenge for album of the year. A highly recommended first class work of art.(http://www.holymetalrob.com/)
