"Dark Hours" represents what this band is all about: great riffs, diesel-fueled rhythms, and spectacular melodies. The band sets its sights on the target and annihilates it every time. Few do it better. This album immediately grabs you by the hair and bangs your head around the room. There have been a number of appearances with Iced Earth, Saxon and Nevermore, and its fair to say that if you like these bands, you will definitely be getting into this new album from these Swedish chaps.
Lion's Share were formed in Sundsvall, Sweden in late 1987 by guitarist Lars Chriss and keyboardist Kay Backlund. The band immediately began perfecting their brand of classy, progressive metal through intensive rehearsals and live performances, eventually winning the first prize at a national band competition the following year. With vocalist Engberg onboard, the band issued its first album through Japan’s Zero label. Sometimes it is hard to tell where traditional metal leaves off and progressive picks up. Lion's Share are more traditional but with some strong progressive tendancies (like complex song structure).
Newdeck, Nash, Cross and Egberg, recorded their debut album “F.E.A.R.” in the UK and mixed and mastered it in Germany under the supervision of Dennis Ward, producer of many successful international artists and «TAINTED NATION» was brought to life. Tainted Nations’ music can be described as a commercial, modern and powerful sounding rock mix.
Any Grappelli album contains a wealth of material by the cream of the song-writers and this present LP is no exception; indeed it includes songs which the violinist has never recorded before, plus two of his outstanding originals. The session took place in a vast film studio, capable of housing almost a complete concert orchestra, yet the intimate atmosphere created by Grappelli and Alan Clare points to the dedication to the task at hand. Grappelli and Clare have worked together many times over an extended period.
Even though Louis Spohr lived well into the Romantic era, and was a contemporary of such cutting-edge figures as Beethoven, Berlioz, Paganini, Liszt, and Wagner, his music stayed remarkably Classical in form and substance, and sounded conservative in style, even late in his career. It shouldn't be surprising to find that his Symphony No. 1 in E flat major, Op. 20 (1811), would sound a lot like Mozart's Symphony No. 39 in E flat major, K. 543; or that the Symphony No. 2 in D minor, Op. 49 (1820), while somewhat more advanced and original in symphonic development, would sound no more radical than Weber, and even evoke Haydn in its droll Finale.