STREETS - A ROCK OPERA

- Act I 1. Streets small intro and it starts, the riff, the voice, the typical rhythm, the progression of the soundtrack; Chris's solo captivating, doing the job and the return of Jon's cry; the atmosphere is calm, oppressive; Narration To Jesus Saves in a cluttered city interlude, cinematic that had not waited for the decade 2020; a video game sound in Urban flight 2. Jesus Saves arrives with its big hooves and its nails, an air worthy of a 'The Wall' in super turbo metallic mode; the choir and the orchestration with the bewitching guitars, the perfect solo as it should be and the finale which is declined in gospel 3. Tonight He Grins Again with the hit pad, the piano in wave and the grandiloquent air that we will find on the whole album; worthy of a concept album in heavy baroque opera mode from hardos; 4. Strange Reality with the typical metallic riff, on their old nervous productions, in the raw state; nervousness and crystalline solo, Steve abusing his drums; 5. A Little Too Far comes slowly, melancholic ballad worthy of the finale of 'The Wall', ah that's already two comparisons. An emotionally intense title due to the stripped-down piano 6. You're Alive for the COOPER interlude, fast, nervous, catchy rock that sets the place on fire in less than 2 minutes 7. Sammy and Tex follows, distorting with the voice and the electric riff; pure greasy US hard rock, a THIN LIZZY rhythm, a Dee SNIDER voice; a catchy sound that doesn't compromise; and already finished the first musical log.

- Act II 8. St. Patrick's begins the second on a solemn piano and vocal basis, not to write overwhelming; the grandiloquent rise with the guitar solo behind; the sound is clear, obvious, high and the choirs join the solo to amplify the emotion 9. Can You Hear Me Now for the latency of the song, the pads that slam all over the room, the raw vocals, the brutality and the finale that gives you the impression of living a good moment of real prog opera metal until Steve's last pad 10. New York City Don't Mean Nothin for the raw ballad with Floydian acoustics of 'Wish You'; it moves forward suddenly on a nervous and jerky hard rock like no other; the riff that hammers ears now, worthy of a concept opera 11. Ghost in the Ruins impalpable, between heavy southern rock and hard rock with hints of prog metal with the air, the keyboard in the distance and the progressive structure that makes them so different from other metal groups; when the metal settles and gives in voluptuousness, in contemplation like this guitar solo on another bassist with the space that goes with it; sophisticated hard rock that leaves you speechless in front of the deployed amalgam, final chorus redundant and aggressive 12. If I Go Away solemn piano intro, radio edit track, stadium, Olympian of course with the voice that looks at Alice COOPER or GUNS 'N' ROSES, in short aerial beauty, rock with its piano in the background giving in the emphasis, its guitar solo behind; crystalline piano return in outro 13. Agony and Ecstasy well summed up in the title where the musical oxymoron embodied between pleasure and distress provoked; the dirty riff that makes you pout, the vocal machine gun that sulfates at all costs; heavy metal energy with that little extra 14. Heal My Soul to take as a melancholic nursery rhyme interlude on a piano base, angelic choirs and solemnity with the air that rises to the sound of Jon, taking us by the throat 15. Somewhere in Time bis repetita with the piano entrance, QUEEN and STYX must have been enthroned on their bedside tables in the evenings before falling asleep; I recognize the show sound of a COOPER. From time to time despite the length we are still surprised by this melodic hold 16. Believe bis bis or how the duration of the first hour can wear out even the best prog metal; piano, high voice and consensual crescendic rise for the finale bringing us back to Olympus.

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