Prism - See Forever Eyes~, Small Change*

Band: Prism
Albums: See Forever Eyes~, Small Change*
Year: 1978~, 1981*
Style: Rock, Prog, Power Pop, Southern Rock
Similar Bands: Rush, ELO, Supertramp, Kansas, Air Supply* Foreigner*
One Word Review: Rent-to-Own-Rock~, Not-Nontoxic Muzak*
Based Out Of: Vancouver, Canada
Label: Ariola Records~, Capitol*

See Forever Eyes - Cover & Record~

See Forever Eyes - Back & Record~

Small Change - Cover & Record*

 Small Change - Back, Record*

See Forever Eyes (1978)~

1. Hello 2:43
2. Flyin 4:34
3. Nickles and Dimes 4:04
4. Crime Wave 4:36
5. You're Like the Wind 3:44 /
6. N-N-N-NO! 2:51
7. Take Me Away 3:18
8. You're My Reason 3:36
9. Just Like Me 4:40
10. See Forever Eyes 5:10

Small Change (1981)*

1. Don't Let Him Know 3:09
2. Turn On Your Radar 3:14
3. Hole In Paradise 3:25
4. Rain 4:05
5. When Will I See You Again 3:35/
6. Heart & Soul 3:35
7. Stay 3:31
8. When Love Goes Wrong (You're Not Alone) 3:30
9. In The Jailhouse Now 3:03
10. Wings of Your Love 3:41

Album Rating (1-10)~7.0
*5.0

Members & Other Bands:
Allen Harlow - Rhythm Guitar / Bass~* (Seeds of Time, Big Joe Turner, Solomon Burke)
Ron Tabak - Vox~ (Not Fragile)
Lindsay Mitchell - Lead Guitar~* (William Tell & the Marksmen, Seeds of Time, Sunshyne, Stanley Screamer, Trainwreck, Jim Byrnes, Bryan Adams)
Rocket Norton - Drums~* (Seeds of Time, Einstein, Vancouver Ensemble of Jazz Improvisation)
John Hall - Keys~*(Bachman Turner Overdrive, Fine Young Cannibals, Kissing the Pink, Sandals, John Berry, Suzy Bogguss, Dan Mahar, Gwen Sebastian,
Bruce Fairbairn - Producer, Management~ (Sunshyne)
Wolf Hennemann - Cheif Recording and Mixing Engineer~
Jeff Tolman - Engineer Asst~
Keith Stern - Recording Engineer~
Roger Monk - Engineer Asst~
Jeff Turner - Recording Engineer~
James O'Mara - Art Direction, Photography, Tinting~*
Bruce Allen - Management~*
Lea de Carlo - Mixing~
Henry Small - Vox* (Gainsborough Gallery, Scrubbaloe, Eddie Money, Razor Baby, Small Wonder, John Entwistle, Doug Cox)
Steve Crimmel - Asst Engineer*
Roy Kohara - Art Direction*
Ken Perry - Mastering*
Carter - Producer*
Warren Dewey - Engineering*
Richard "Beef" McKernan - Asst. Engineer*

Unknown-ness: I've never heard of this band. But I got these two records independently of each other at different thrift stores. The logo is pretty cool and the band name is a favorite brewery of mine. The back of the albums makes me think they will be some sort of 79's hard rock band, like Ace, but their look is a little more prog-like. No reason it can't be a classic rock, prog band, so that's what I'm assuming I'll hear with these records.

Album Reviews: Prism was a merger of two Canadian bands, orchestrated by producer Fairbairn. These are two of their 13 albums they’ve release in their career. In 1981, they finally won the Canadian Juno award for Group of the Year. One of their songs “Spaceship Superstar” from their first album was chosen by Spaceship Discovery for their wake-up song. Tabak passed away in 1984 as the result of an undiagnosed blood clot in his brain following a bike accident that changed his personality and landed him in jail. Harlow is still actively carrying the band’s name in a revived incarnation.

~“Hello” starts out with cheery synth and power pop ELO structure, like a lighter Cheap Trick. The instrumental guitar solo remains constricted and does not unleash energy as crazy as it wants to. Near the end of the song, the prog-like synth battles it out with the guitar.

“Flyin” was written by Harlow and was released as a single. It has a bouncy marching bass line, and then a synth line zooms in to take over the song’s direction. The slowish, steady pace of the song allows for some well song, and well harmonized vocal melodies. It creates a nice range for the chorus to really lift off, with a near Supertramp-like chorus. It is a pretty straightforward, complex-free song.

“Nickels and Dimes” brings out the down and dirty pub rock side to their resume. It is bluesy with a full horn section, and at the same time, resonates with a Southern Rock mentality, and a bit of the Rolling Stones. The solo is controlled by the church organ’s melody in the fore-front. The catchy chorus is a bit overused, and it is even on repeat when the song fades out.
“Crime Wave” brings the same pub rock guitar, but mixes it with a disco-space new wave synth line. The song has a heavier tone to it than before, so this falls into more of a metal vein than the Southern Rock style. Especially when it comes to the solo, which is a total wailing crying guitar. The synth effects are there just to throw off the listener, and are trying to be too pretty. The end adds in, for no real reason, a twinkling piano in the fade out.

“You're Like the Wind” was written by departed drummer Jim Vallance, AKA Rodney Higgs and also released as a single. It is a slow mover, and a grower. The melodic vocals sweetly carry the listener over a tender sentiment and a sad, memory on the open prairie. With the slide guitar, and haunting keyboard echo, this could be considered a true power ballad; not one that actually rocks out.

“N-N-N-NO!” was written by departed drummer Jim Vallance, AKA Rodney Higgs. A bowling strike kicks off the song, and it’s followed by pub & power rock guitars. The vocals are higher than the rest of the album’s been. This is a solid power pop song, with just the right jitteriness. It even employs minor harmonizing that bolster’s the song’s intensity.
“Take Me Away” was written by Harlow and was released as a single. It begins as a drippingly slow jangle rock guitar. Power chords are used below the Big Star like production. For the instrumental breakdown, dual harmonized guitars play side by side giving the song the full prog treatment.

“You're My Reason” begins with a slow piano, and I get the feeling it will launch into a Journey type song. But it continues slow, with quiet vocals. It is a piano ballad, with whispy, early Bee Gees style harmonies and a total organic feel. This is the high school slow dance.
“Just Like Me” has a pop-punk guitar at the outset, and it transitions into a Garry Glitter knock off sound. The vocals are kinda what you would expect from a metal band, but part show-tuney too. The instrumental guitar has a good blend of southern rock and metal, leaning slightly toward the former.

“See Forever Eyes” was one of the singles. It begins with a total jittery synth line, and is followed up with power-bombastic guitars. The synth melts away, and the guitar and vocals take charge and clean up the complexity. It ends where the album started, with a pleasant harmonized power pop tune with all of the verocity as “I wanna rock and roll all night, and party every day.” The instrumental starts with guitars, and just when you think this is the place that the synth hook from the intro could come back, it does to a minimal degree. The chorus, when it comes back again for the third round, installs its hook in to your mind, and you can’t help but toe-tap along. The vocals are drowned out by the synth at the end of the song as it fades out.

*“Don't Let Him Know” reached US top 40 single ranking and was written by Jim Vallance and Bryan Adams. It begins exactly like “Hit Me With Your Best Shot.” The guitar quiets down, and the prog songscape begins, like “Carry On My Wayward Son.” The chorus is a strong, but brief power pop dabble. But the song feels superficial and even a little overproduced. With this, they have become just another pop rock hair band act. It fades out just when it feels like it is getting going.

“Turn On Your Radar” was also a single, charting in the US. It too is light on the production, with a much smoother, limp sound. The synth is no longer zooming or spacey, but has the much more mid 80’s style of light, neutered island sound. They even pick up the stereotypical synthesized harmonica. It is a little surprising that this production style was employed already at 1981, as it sounds much more fitting for 1985.

“Hole In Paradise” has a rocking guitar in the intro, but even that is stripped away of all its analog nature, and sounds like the edges are filtered out so it can match the twinkling synth. The song build progressively, but everything sounds scaled back. The chorus, when it finally gets there 2 minutes into the song, is catchy, but it could be a whole lot better with different style choices.

“Rain” was the first single released. The song starts out like an Air Supply song, as it is on some personality uplifting enhancement drug. The song is kind of terrible, even the lyrics are embarrassing. The music sounds like they forgot to produce it. Like they stuck in a metronome synth place holder, and never came back to it to flesh it out. There is a drum machine kick beat that is stronger in the chorus, but it is probably a real drum produced to sound synthetic. Like beating on dead wood.

“When Will I See You Again” has a distinctly Foreigner feel to it in the verse. The verse is much more poppy, like a generic Elton John piano based hook, but not as energetic or catchy.

“Heart & Soul” tries to take the band back to the hard rock guitar sound from before, but again, it seems to fall short right out of the gate. It sounds like music made for kids to play for their parents in order to get them to buy them other, real “metal” records.

“Stay” sounds like it is a church song. The gentle piano and quietly soaring organ give the feeling of a jesus-tune. It also sounds a little like it is going to turn into “Against All Odds” at any point.

“When Love Goes Wrong (You're Not Alone)” continues with the god-praise feel, perhaps with a little bit of a Supertramp vocal melody. The bridge into the chorus picks up the energy, and it releases fully in the bold chorus, in a pretty solid fashion, especially considering the feeble music that surrounds the vocals. I think there is even a bit of slap bass sound put on a regular bass line. And as if the tape ran out the song fades pretty quickly.

“In The Jailhouse Now” has a nice driving melody, but damn, if the guitar doesn’t sound like it’s filtered down into a single synthetic sound. Only the vocals sound the solidarity bit of organic-ness in a soup of chemical ingredients.

“Wings of Your Love” is a slow, not-quite-ballad side to side swaying song with a touch of bluesy soul. It is a love song, sung with a soaring guitar in the background and a yearning in the vocals.

Stand Out Tracks:~N-N-N-NO!
*Don't Let Him Know

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Canadian Bands

Girlschool - Hit & Run~ Screaming Blue Murder*

Name: Girlschool

Albums: Hit & Run~, Screaming Blue Murder*

Years: 1981~, 1982*

Style: Metal, Hard Rock

Similar Bands: Motorhead, The Runaways, Ramones, Heart, L7, Lita Ford, The Donnas

One Word Review: Metalized-Power-Punk

Based Out Of: London UK

Label: Bronze Records Ltd, Original Sound Recordings, Polydor, Ariola Group of Companies

Hit and Run~ - Cover & Record

Hit and Run~ - Back & Record

Screaming Blue Murder* - Cover & Record

Screaming Blue Murder* - Back & Lyric Sheet 

Hit and Run (1981)~

1. C'Mon Let's Go 3:35
2. The Hunter 3:15
3. (I'm Your) Victim 2:42
4. Kick It Down 3:03
5. Following the Crowd 3:08
6. Tush 2:15/
7. Hit & Run 3:08
8. Watch Your Step 3:20
9. Back to Start 3:32
10. Yeah Right 3:20
11. Future Flash 4:27

Screaming Blue Murder (1982)*

1. Screaming Blue Murder 3:22
2. Live With Me 3:22
3. Take It From Me 2:48
4. Wildlife 2:47
5. It Turns Your Head Around 3:05/
6. Don't Call It Love 3:39
7. Hellrazor 2:40
8. When Your Blood Runs Cold 3:19
9. You Got Me 3:13
10. Flesh And Blood 2:24

Album Rating (1-10):~8.0

*8.0

Members & Other Bands:

Kim McAuliffe - Rhythm Guitar, Vox~* (Painted Lady, Doro, Motorhead, Infa-Riot, Fastway)

Kelly Johnson - Lead Guitar, Vox~* (Headgirl, Motorhead, Fleetwood Mac, John Foster, Infa-Riot)

Enid Williams - Bass, Vox~ (Painted Lady, Headgirl, Doro, Motorhead)

Denise Dufort - Drums~* (Headgirl, Motorhead, Motorschool, Doro, Infa-Riot)

Gil Weston - Bass, Vox* (The Killjoys)

Vic Maile - Producer~

Nigel Gray - Producer, Engineer*

Chris Tsangarides - Mixing, Producer, Engineer*

Alan Daniels - Illustration~

John Dent - Mastering~

Unknown-ness: I've never heard of this band, but when I saw them in a 2 / $1 bin, I had to pick them up. It looks like the energetic girl rock music that I've been into lately, so I was excited to check out these, especially since they were from 81-82. I like the rough and ready look, Ramones/Twisted Sister metal vibe to their covers.

Album Review: Girlschool is the longest running all girl metal band. The band is accurately summarized by the editor of Revolver’s comment “Punk-metal mix tough, but poppy enough for radio” (mar 2006). Based out of the UK, Lemmy from Motorhead was majorly responsible for their success as he championed them and worked with them many times over both of their careers (Headgirl & Motorschool). These are their second and third albums (of 12 so-far), and the third album was the first that was supported with a US tour. Many critics said there was a drop off between albums, but as far as I could tell listening to them back to back, I could not decry any sort of decrease in quality.

“C'Mon Let's Go” was the third single released. It begins with a heavy guitar revving up in the stage right speaker, reminding me a little of Life Of Agony. A punishing drum beat follows, and the song kicks into full metal gear, with heavy power-pop-like chord changes, and a voice not unlike Joan Jett. The chorus is a fun call and response “Let’s Go!” And the chugging guitar/drums duo reminds me of Bow Wow Wow, and Adam Ant too.

“The Hunter” was the b-side to “Yeah Right.” A plotting guitar sets a heavy stomping tempo, and this song’s basic melody, and the way the vocals are sung in the verse reminds me of Adam Ant again. The stalking melody is conniving and the hushed vocals help to illustrate a big cat stalking its prey.

“(I'm Your) Victim” pushed the ball down the hill right away, and the song drives along full throttle. The female vocals have a calm punk attitude about them, and the choir of girls harmonically supporting the lead creates a powerful message as a group. The lead guitar solo is blistering, but holds within the melody’s boundaries. The song ends with the chorus of “Run and hide.”

“Kick It Down” has the band tuning up, and sounds as if it would be a great first track, as the instruments are giving feedback. The song then launches into a heavy version of a grimy Detroit garage rock song. I imagine the song could be changed little to become “Kick Out the Jams.”

“Following the Crowd” has a jittery guitar intro, but that is quickly overtaken by a heavy lead guitar hook. The song chugs along like a backing track for a kick boxing tournament montage. The lyrics are sung powerfully and inspired. The chorus has a darkness to it with the minor chord changes.

“Tush” is a cover of the ZZ Top song. The band keeps the bluesy swagger and the vocals are short, punchy and growly. They let loose on the guitar solos, bring the metal edge in where they can.

“Hit & Run” was a top 40 UK single. The vocals sound honest and thoughtful, while the music fires on all cylinders. The chorus finds the group of girls repeating the song title three times. The drums are crashing in the chorus, but otherwise, the song is a general solid heavy rock song. The vocals are not threatening, and even come off as somewhat delicate and sincere.

“Watch Your Step” kicks in with a fast paced drum beat, and the rhythm guitar comes in to match. The lead guitar adds extra volume to the “Ace of Spades” style melody. The instrumental lets the guitar run wild, and it ends with a simple bass-drums reset. This is followed by a rendering of the song title repeated through distortion like a megaphone. The song begins to slowy fade out, and then it drops away quickly.

“Back to Start” has a slow-yet-aggressive drum beat introduction. Metal-Enhanced back alley pub rock guitars are added to give it a sinister swagger. The chorus has white-water rapid style guitar playing, where the roughness smoothes out for a second only to return to the chugging roughness.

“Yeah Right” was also a single. The band sets the stage with two measures of guitar and drums, only to grab it with lead guitars and aggressively drag it forward. The steady singing is punctuated with shouts from the rest of the band of the title. The song is a rebuttal, spit in your face retort to parental figures employing their rules and regulations over the listener. This is a theme embraced by Twisted Sister, and it really speaks to the young, misunderstood teen listener. But the bottom line, as they say in the song is, “You can’t go back.”

“Future Flash” creeks and grows slowly with atmospheric interference, and then suddenly starts with the precise combination of heavy guitars, buried bass and skipping drums. Amidst the ear bleeding guitar solos and abrasive rhythm guitars are minimal synth-like effects, assumingly related to the song title.  Heck, maybe it was just once, and I’m now just imagining that it happened.

“Screaming Blue Murder” picks up right where you left the last track: aggressive guitars and drums. But this time, they use aggressive vocals to match. They’ve embraced the theatrics of metal vocals just enough to sound more menacing than all the songs on the first record put together. Other than a fun song to sing along with at a live show, the song does not present anything too new or catchy. It just has some shifting chord changes, and whiny metal guitar in the ending instrumental that fades right out.

“Live With Me” is a Rolling Stones cover. And the band puts on the fuzzed out metal guitar make-over. The vocals maintain the aggressiveness from the first song. The melody is catchy, as is expected with a RS song. The guitar solo in the instrumental section feels reserved, and follows along with the basic melody.

“Take It From Me” has power chords played in a chugging rhythm guitar style in the introduction. The vocals and guitar hook trade barbs, and each one goes away to allow the other spotlight, never overlapping. But that is just a great pop song cue. This is a solid pop song dressed up in metal.

“Wildlife” was on the “Wildlife” EP that preceded this album and was rerecorded for here. A scroll down the neck of the guitar, and a stomping tempo give life to this song, with vocals that remind me of Sleater-Kinney a little bit. The chorus is another call and response with the backing group chanting “Get Ready.”

“It Turns Your Head Around” feels like a rock-a-billy punk song at the beginning. But the vocals are performed in a snarling manner. The chorus is a fun and catchy sing along of the title. It matches the tinny, Rancid style lead guitar with rhythm guitar power-pop chord shifts.

“Don't Call It Love” was on the “Wildlife” EP that preceded this album and was rerecorded for here. The beginning features a precise, vocal melody like guitar intro that then gets absorbed into the sea of the song, but reemerges when it gets to the verse. By the time the chorus hits, the guitar shifts to a secondary hook, with the same precision of the first one. A tone shift occurs near the end, and the now-familiar melody pushes up an octave for a pleasant change.

“Hellrazor” is a jarring wall of noise that is molded into a charging forward onslaught with its head down and bayonet held right in front. The vocals are a smooth calmness that brings a balance between the aggressive tempo and rolling melody. The song continues to rise right to the very end, where it spins out into the finish.

“When Your Blood Runs Cold” displays the heavy-yet-catchy side to the band. The vocals are confident and bold, but produced differently; the melody and vocals could be a Pat Benatar song. The poppy guitar solo just enhances the already laid melody. And after its brief eruption, the bass and drums reset the song in a well-timed reorganization.

“You Got Me” is another template of a well-organized pop song featuring heavy production values, like chain-enhanced drums, and the buzzing guitar. The verse builds nicely to the chorus, and it features the requisite instrumental after two verse-chorus run throughs, which leads right back into the chorus.

“Flesh And Blood” has a bold use of drums setting the tonal melody, and a rhythm echoes a single note to the same beat. An effect is placed on the lead guitar making it oscillate with reverb on a loop. Breathy, echoing vocals are overlays, as if an invisible presence is whispering the vocals flesh and blood over the basic instrumental. And the whole drum-lead melody quietly fades out. 

Stand Out Track: ~C'Mon, Let's Go

*Take It From Me

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Hoodoo Gurus - Magnum Cum Louder

Name: Hoodoo Gurus
Album: Magnum Cum Louder
Year: 1989
Style: Alternative / College Radio
Similar Bands: REM, Midnight Oil, Gin Blossoms, Replacements, INXS
"One-Word" Review: Gen-reclectic-college-favorites
Based Out Of: Sydney, Australia
Label: RCA, BMG, Artista/Ariola Limited

Magnum Cum Louder - Cover, Back & Tape

Magnum Cum Louder - Liner Notes, Tape

Magnum Cum Louder (1989)

1. Come Anytime 3:20
2. Another World 3:16
3. Axegrinder 3:27
4. Shadow Me 3:41
5. Glamourpuss 2:36
6. Hallucination 5:05/
7. All The Way 3:11
8. Baby Can Dance (Pts 2-4) 3:17
9. I Don't Know Anything 4:07
10. Where's That Hit? 3:56
11. Death in the Afternoon 4:08

Album Rating (1-10): 6.5

Members & Other Bands:

Dave Faulkner - Guitar, Hamond Organ, Vox (the Victims, Antenna, Persian Rugs)

Rick Grossman - Bass, Vox (Matt Finish, DiVinyls, Ghostwriters, The Kelly Gang, Persian Rugs)

Mark Kingsmill - Drums, Grunts (The Hitmen, New Christs, Screaming Tribesmen, Hellcats, Super K, Persian Rugs)

Brad Shepherd - Guitar, Harmonica, Vox, Idea for cover (Fun Things, The Hitmen, Super K, Ghostwriters,Beasts of Bourbon, Roddy Ray'Da and the Surfin' Caesars , Replacements, Shutterspeed, The Monarchs, Persian Rugs )
Alan Thorne - Engineer
Dave Thoener - Mix
David Mackie - Asst Engineer
Dary "Pig" Sulich - Asst. Engineer
Tim Leitner - Asst. Engineer
Barbara Mills - Asst. Engineer
George Marino - Mastering
Sluggo McMartin - Behind the Plate on "Where's That Hit"

Stephanie Faulkner - Backing Vox
Richard Allen - Cover Art
Adrienne Overall - Photograpy & Montage
Michael McMartin - Management

Unknown-ness: I had heard the name Hoodoo Gurus somewhere before, but I cannot say under what circumstances. On the basis of name recognition alone, at some point I bought this tape. I don’t know when, or if I ever listened to it, but there it sat on my tape shelf for a long time. I think I had thought of them as a quirky alternative/college radio rock band. I don’t know if they have silly lyrics or not but I came to the conclusion of regarding them as a band that doesn’t take themselves too seriously somehow. The name, picture and font all blend together to seem like an African witch doctor, but finding out they were from Australia, an outback medicine man might be a better basis.

Album Review: “Come Anytime” begins with acoustic guitar, reminding me of “Jane Says” and then electric guitar is quickly added. The vocals begin and my first thought was REM, which quickly transmorphs into Midnight Oil. So I think that is a good combo to describe the vocals, and music as well. The chorus features a catchy melody sung in a few up and down variations. It is a good delivery from the anticipating in the verse. The organ adds a great thickness and depth to the song.
“Another World” also begins with the acoustic guitar and this feels even more like Midnight oil, with a shaky vocal performance. The music is a meandering college radio rock song, predecessor to the Gin Blossoms. There is no real build and release like most pop songs have, this is just a repetitive camp fire singalong with the same unchanging melody, eventually broken down to la la la-ing along at the end.
“Axegrinder” Echoing drums that almost sound like from a drum machine begin this one, and the lyrics are sung fast over the music, similar to INXS. It feels like it is trying to be a metal song, but just can’t get there, wrapped up in too much light production. The chord progression is pretty identical to “Smells Like Teen Spirit.” And the song ends with the chorus repeated and a looping electric guitar like a siren.
“Shadow Me” is an honest ballad, reminding me of the sincerity in much of James catalogue. I am reminded of their song “Runaground.” Although popular at the time, the echoing, jangley guitar really dates the song, and makes me lose interest pretty fast.
“Glamourpuss” picks up the pace with a rough, coked-up grainy rock-a-billy punk like repetitive guitar hook. It drives on somewhat fast with a few hiccups in the vocals, which builds character. But the song never rests for the full 2:36.
“Hallucination” is a somewhat boring head swaying song with a choir of vocals used as a break chanting ahhh at the end of every measure. The chorus is a bit faster and fun, but over all, it is a drab song. The musical break is predominately electric guitar and harmonica. The vocals sound like they get further and further away ending up by an echoing shell by the end.

“All The Way” is a catchy pop rock song. I’m not fond of the vocals, like a less deep Brian Ritchie. But the chorus that the song began with repeats a few times: the catchy “hey-hey-heys.” The short interlude is all lead guitar, and the chorus comes back for a final round.
“Baby Can Dance (Pts 2-4)” begins with quiet whispering, overlaid vocals. The drums kick in and the combating vocals synch up like it is a Flight Of The Conchords song. The song transitions to an anthemic head nodding section after the instrumental section. The song is powerful with the dual vocals. It ends with a few final guitar strums.
“I Don’t Know Anything” blasts off fast and furious with an interesting, catchy bass line and driving drums. The song changes up a couple of times, throwing varieties of the melody over the drum, bass, & rhythm guitar steady canvas.
“Where's That Hit?” begins with the organ playing ballpark baseball songlettes. Then the dusty driving country tinged song trucks along. There is a short breakdown where the baseball organ plays the “Charge!” theme. And the song dives back into the path of traffic with harmonica guiding. The song ends with some more vartiations on the “Charge” theme even altered with a harmonica.
“Death in the Afternoon” is a middle album track places at the end to keep momentum going. But it’s the last song, so it doesn’t have anything to work toward. The chorus is a catchy, multi-voiced chanting hook, which utters the title of the song. The guitars parallel its melody instrumentally. The vocals have lots of energy to them. Police sirens and screeching tires play out as the song winds down with the music overstaying its welcome.

Stand Out Track: Come Anytime

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