Fireworks

Kane Roberts - 'Kane Roberts' http://rocktopia.co.uk/media/reviews/photos/thumbnail/200x200s/cc/8b/90/2462_KaneRobertsKaneRoberts_1342023418.jpg Hot

Added by Central Electronic Brain     July 11, 2012    
 
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This is only good, not great.

Kane Kane go away, come again another day. But not this one.

Kane is the man mountain guitarist seen on Alice Cooper's ‘Constrictor’ and ‘Raise Your Fist And Yell’ albums but after a few solo discs, fell off the radar. Until seen at last year's Firefest, in a rather underwheling and perhaps underehearsed performance.

There are rumours that an album started years ago is progressing, but in the meantime Yesterrock give us an opportunity to enjoy his first release. There he is brooding, dressed as Rambo but cradling a guitar. Yes, it looks exactly like you think it will.

But it's the music we really care about. And what's here is really... acceptable. Unfortunately, that's all. These are good examples of sleazy rock, but lots of other albums are too. Opener ‘Rock Doll’ has a low slung riff stabbing into a simple, shouted chorus and a pumping bass with soaring solo, whilst ‘Women On The Edge Of Love’ has a US AOR energy and a soft synth-enfolded middle and two fine solos, a grime-encrusted but melodic offering and a newly-showered, even more melodious type.

Fireworks - The Ultimate Magazine For Melodic Rock Music

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And although most of the tracks here have a nice saucy feel, they don't transcend that atmosphere. ‘Out For Blood’ gives us a heavier feel with a Hairier riff and churning guitars in a nice breakdown and for comedy value, the heartfelt AOR of ‘Tears Of Fire’ tells us of "the smoke of a velvet fire" - you can get cream you know Kane! ‘Outlaw’ is an instrumental example of his guitar theatrics, but the finger tapping, five knuckle fretboard frottage should stay in the rehearsal room and not stink up your living room.

His voice works well, his solos are generally impressive, the production is rather meaty, but it's the songs that leave the lasting impression - that this is only good, not great.

Fine when released in ‘87 perhaps, but an overlooked gem? Nope.

Steve Swift

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