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One of their weakest outputs - 50%

Felix 1666, January 1st, 2015
Written based on this version: 1995, CD, Phonag Records

I do not like the first sleepy riff and I really hate the first words: "oooh baby". But however, I should try to remain calm. In this respect, I would like to begin with stating that Marc Storace had returned to Krokus. His familiar voice was a plus for this album, because Storace performed professionally. Perhaps we can assume that his colleagues also did their best to create an impressing record. Nevertheless, this mediocre album leaves me absolutely cold.

The main reason for this is undoubtedly that the band was not able to compose infectious songs. While commuting between bluesy sounds and low-calorie hard rock, the group failed to deliver sonic arguments for buying this album. The lukewarm compositions do not thrill me. Either they have a decent verse, but a weak chorus like "Flying Through the Night" or vice versa ("Lion Heart"). There are hardly any tunes that know how to please from start to finish. Another major flaw is the lack of moderate aggression. Everything sounds pretty nice and very relaxed, but I think it should have been equipped with an adequate dose of dirt. Even the slightly faster tunes do not follow a challenging or raunchy approach.

Instead, Krokus deliver some happy songs with rather stupid lyrics ("she´s a natural blonde / dancing on the table of the White House"). A nice imagination for old men - and that´s it. However, speaking of stupid details, just take a look at the comic-like cover. I do not find any connection with the album title or the band itself. One might call it an original design, but it´s always a serious problem if the cover constitutes the most original thing of an album. The songs themselves lacked of originality in a significant way.

This becomes particularly clear when you listen to "Soul to Soul". It won´t take long for you to recognize that AC/DC called this song "Ride On" - and they released it several years earlier. "Stormy Nights" is sadly their next attempt (after "Nova-Zano" from "Stampede") to adapt the riff of "Kashmir" for their own benefit. It is striking that even the song titles seem to be the result of a recycling process: please compare "Talking like a Shotgun" with "Shotgun Boogie" ("Stampede") or "In the Dead of the Night" with "In the Heat of the Night" ("Stampede", too). Additionally, the last two songs have a very similar structure. Due to this, I must notice that the full-length shows all the symptoms of an unpleasant rush job.

But let´s try to focus on the positive aspects. Honestly, if one wants to figure out a totally convincing song it is almost like finding a needle in a haystack. In any case, the lively and spirited title track is pretty nice without having the potential to challenge the classic tunes of the band. "Wagon Gone" marks a late highlight due to its authentic heaviness. Perhaps "Stop the World" also ranks among the better pieces of this full-length, because it offers the darker side of the band and the contemporary lyrics are above average, too. The rest of the tunes falls only into the "also ran" category. Some may call them timeless, I call them insignificant - not merely due to the neither powerless nor outstanding production. I do not think that musicians with high demands on themselves can be satisfied with this result. No wonder that this full-length has fallen into oblivion. It definitely fails to provide memorable moments. But if you are interested in slack songs of seemingly tired men, this album will make your day.