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AOR
L.A. Connection

Escape Music (2014)
Rating: 8/10

When heavy metal and heavy rock music suffered at the hands of the grunge invasion in the early 90s it was up to talents such as Los Angeles-based French musician Frédéric Slama to keep on delivering the rock anthems, the sort of songs that had become derided and no longer wanted by the airwaves.

However, as Slama proved time and time again with consistent releases, if songs are good enough then there will always be an audience for them. Not only that, but as we all know, many trends go round in circles and what’s hot one minute will be cold the next, only to then come full circle and become flavour of the month again.

Melodic rock has appealed to millions of people the world over; radio friendly giants such as Foreigner, Journey, Toto and the likes have always been accessible bands – existing on the fringes of heavy rock but subtle enough to endear themselves to the pop crowd too. AOR is most certainly inspired by just about every band of that ilk, and for his 13th opus Slama has enlisted the help of a few friends within the field in creating another fascinating opus, providing the perfect soundtrack to glorious sun-blessed times on hot beaches and sizzling sidewalks. It’s no coincidence that everything Slama has done has an American connection. In fact, one could just imagine some of the tunes on this new record gracing an 80s television cop drama; Miami Vice anyone?

Now, I’m not familiar with every AOR opus – there are so many of them it’s hard to keep track at times – but with L.A. Connection you know what you’re getting; a gorgeous blend of smoky vocals, lush arrangements, bombastic songs and enough shoulder pads, wicker shoes and bubblegum to keep the harsh winter at bay.

‘On The Edge Of Glory’ kicks of this sugary, sultry feast of anthems, coming in with a twinkling keyboard that flickers just like those city lights, and with Bill Champlin (ex-Chicago) at the helm you know it’s going to be another sweltering, soulful treat for the ears. The track throbs from its simple guitar sway; a well-balanced mid-tempo rocker that never gives up hope lyrically as Champlin speaks of spending so many “lonely, lonely nights”, and yet while even being in the gutter knew that he would reach new heights. And that sums up the magic of this sort of music; for even when things seem at a loss, such songs appear to be the soundtrack of so many emotions that hopefully ring true to even those who no longer recall experiencing such anthems back in high school.

Yeah, I admit that there are times on L.A. Connection that the songs sound as if they’ve been plucked from varying 80s movies, ranging from Teen Wolf (1985), Flashdance (1983), St. Elmo’s Fire (1985) and probably even Rocky (1976), but that’s the point; this is music to celebrate to and reflect upon.

‘The Pride Of Strangers’ is another simmering plodder featuring the talents of Paul Sabu (Only Child) – one of my favourite 80s rock vocalists known for his rich, earthy throat whose style slips in effortlessly alongside that trickling percussion and heartbeat pulsation of riff, synth and bass.

The reality with an album of this quality is that it’s nigh on impossible to find a flaw. Although the instrumentation does have a tendency to all melt together into one big melodic showdown beneath the palm trees, Slama has collated a heavenly array of joyous numbers bolstered by those archetypal melodies and images, and of course the array of guests on board the good ship lollipop.

Former Boulvevard singer David Forbes takes ‘Closer To Zero’ to higher plateaus, even if the voice doesn’t have the grit or determination of others. ‘Once Off Guard’ could also be accused of lacking fire in spite of its guitar wizardry, as Jeff Paris just doesn’t cut the mustard in comparison to those who provide extra grit, but that’s not to say he’s a weak vocalist. Each of these numbers has its own personality, but when you hear ‘Lost Souls Don’t Cry’, featuring Philip Bardowell (Unruly Child, Places Of Power), there’s just that extra inkling of oomph vocally, which is matched by the more convincing musicianship of Slama, who is accompanied by Tommy Denander in carving out those forceful, swaying melodies.

The Sherwood Ball (Jay Graydon) fronted ‘Exiled In Sadness’ is another soulful croon featuring warm backing vocals and Pat Thern’s throbbing drum backbone. This is followed by the synth / guitar-driven ‘Age Of Desire’ featuring Rick Riso’s rich, ascending tones – the riff hinting at early Bon Jovi. ‘Circle Of Danger’ is another steady lightweight rocker, meanwhile, featuring a bubbling intro and jerking solos, before Tamara Champlin jumps in with her gravelly tone and gives one of the best performances on the album.

‘The Crystal Heart’ caps off proceedings, this time as a simmering, evocative slow-burner featuring Bob Harris (Axe) who in smoky voice echoes, “You can’t believe I’m walking away” over a smouldering bass, drum and synth tinkle. The lyrics seems to act as a warning through a stormy relationship as Harris mourns, “You think I won’t go… there’s just too much sorrow”.

And there we have it, nine very strong songs on what appears as a relatively short opus. While we can all pick and choose our favourite vocal performances, L.A. Connection is a sum of many parts all wrapped up in the finest, most gorgeous melodic arrangements one could imagine when walking under the glittering stars that shine down on old L.A.

Neil Arnold

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