Tamplin
Tamplin
Reviewed by Doug Van Pelt
Ken is back with more fast 'n' melodic hard rock here, showing off his penchant for that melodic hook that sinks deep into your brain and makes for good radio airplay. While first hype on this record was that it was perhaps better than Magdallan, I'd have to say...Well, I'll let the public make the final judgement on that one, but it sounds more like Ken's other two solo albums and Shout projects than the multi-layered Magdallan album to this reviewer. The common link between this project and those other four is a sonic one. It seems that Ken's got a deaf spot (or a favorite taste?!) on the frequency scale. All his projects (except Magdallan) major on the high end, leaving a thin range of sound that hits the ears. While becoming a trademark for Ken, I think this is the only real weakness in his songwriting. After several listens, this album gets better and better and the hooks begin to attach their tentacles to your ears with an "I'm never letting go" grip. "Slave Trade" is one of the tallest standout cuts, with its back-to-basics power chord rhythms a la AC/DC, which gives the lyrics the attitude they deserve. The lead solo here further drives the 'tude home. If there was only one song to pick as the hit, it would have to be "Suspicious Eyes," which has the grittiest riffs and best vocal tones on the album. The vocals on the verses are like Coverdale singin' low, communicating witty lyrics atop some spicy percussion. This song can match any of the pizazz and bang of the Magdallan project--to which comparisons can't help but be made. It's part of life in the entertainment biz: You release an incredible album and people are going to use it as a standard against your subsequent work. Some of the studio tricks found on "Big Bang" show up here, like the vocal effects and creative sound stacking, like what sounds like a guitar synthesizer in "Movers And Shakers" and the jazzy and jangly guitars gracing the outro to "Testify." This song carries a big stick sound that rocks with authority, and it also adds the diversity of a Black Gospel sound in the chorus. Good idea by Ken, cause baby it really works! This song has got some soul! Other highlights include "Mystery Train," which has some cool vocal harmony layering, and "Don't Let The Sky," with a great melodic chorus and some low 'n' bluesy singing. The intro to "Get Out Of My Sun" sounds like the groove to Randy Stonehill's "You're Loved Tonight," but definitely puts more hard rock muscle in its punch than ole Uncle Rand ever did. "Livin' For My Lord," although simply re-titled "Livin'" here, shows up again from the "An Axe To Grind" album. I suppose that Tamplin, like Deliverance with its "Weapons..." video, wants to give the quality video footage some extra life. Not a bad decision, especially since there's already 11 other tracks on the album. Also, for the mainstream audience, it caps off the album letting everyone listening know where Tamplin is coming from. This album is consistently better than any of his previous projects (except Magdallan), yet none of the highlights here (save for "Suspicious Eyes") are as great as the high points on "Big Bang." How can you top tunes like "Cry Just A Little," "Heartbreak Woman," "Radio Bikini" and "Shake?" Well, it's hard, but Kenny proves he ain't even close to bein' done with his habit of crankin' out good tunes. I think he lives up to the Magdallan standard, but doesn't go beyond it.