Post by dangerzone on Jun 21, 2006 16:51:01 GMT -5
I can already hear the laughter. 'What is this? A joke? Frank Stallone? His brother sucks!' Let me set the record straight. Frank is a charmer, an undercover lover, a lothario and an AOR magician. And he starred in 'Outlaw Force' with David Heavener. With this album alone Frank obtained more credibility than a generation of fortieth rate 80's Euro thrash bands with no melody and variety. After a stint with Valentine in the seventies Frank got a break with a bit role in his brother's 'Rocky' classic, cutting the doo wop standard 'Take You Back'. Bit parts followed, and with the help of Sly again, Frank turned in his best role to that point in 1983's 'Staying Alive', romancing Cynthia Rhodes to John Travolta's dismay. This is when Frank became a superstar, the track 'Far From Over' going top ten, an immediate AOR staple.
Frank's lone AOR effort followed a year later, an effort which stands proud as one of the genre's classics. With an image that rivaled Michael Bolton, Frank turned in one of 1984's best, showing the world he wasn't a joke. And that's really the point of this review. You see the name and associate Sly with Frank, even though both are certified legends. Tell me what's humourous about the melody of 'Runnin', 'She's So Popular', 'If We Ever Get Back' and 'I Do Believe In You'. Nothing. It's the old Don Johnson syndrome showing through. The early to mid eighties was heavily populated with solo male artists like Greg Guidry, John O' Banion, David Roberts, John Valenti, Rupert Holmes and Dwayne Ford, who all contributed veritable amounts of West Coast AOR magic.
Franks' delivery is impassioned and memorable, with lashings of keyboard wizadry from Vince DeCola, one of the best in the business. I sometimes wonder if I would choose this over any of Maidens catalogue if I was forced at gunpoint with my pants down in a rape attempt. I just might. The melody is impeccable, although it always depends what mood you are in that day. Still 'Number Of The Beast' opposed to this? TKO! As Frank says, 'the music is magic!' Frank went a step further in 85' with 'Peace In Our Times' for the Rambo II soundtrack, with the images of war torn vets in a dishevelled state tracing the names of the departed at the Vietnam memorial. Just take a look at Frank on the cover, the cool is dripping off the man, especially in the instrumental breakdown of 'Running' when he says 'come on!' and growls 'uhh!'.
This may be a relic from a bygone era, but it is timeless in its appeal. For lovers of melody and musical suspense you'll never find better. Frank gave up the craft decades ago, but in essence he did all he could in one album, just like Bolton did with his three from 83-87. If anyone cares to hear the evidence get in touch with me via Frank Stallones management and I'll supply you with a copy. It'll more than adequately replace that stale copy of 'Sabbath, Bloody Sabbath' in your player.
Frank's lone AOR effort followed a year later, an effort which stands proud as one of the genre's classics. With an image that rivaled Michael Bolton, Frank turned in one of 1984's best, showing the world he wasn't a joke. And that's really the point of this review. You see the name and associate Sly with Frank, even though both are certified legends. Tell me what's humourous about the melody of 'Runnin', 'She's So Popular', 'If We Ever Get Back' and 'I Do Believe In You'. Nothing. It's the old Don Johnson syndrome showing through. The early to mid eighties was heavily populated with solo male artists like Greg Guidry, John O' Banion, David Roberts, John Valenti, Rupert Holmes and Dwayne Ford, who all contributed veritable amounts of West Coast AOR magic.
Franks' delivery is impassioned and memorable, with lashings of keyboard wizadry from Vince DeCola, one of the best in the business. I sometimes wonder if I would choose this over any of Maidens catalogue if I was forced at gunpoint with my pants down in a rape attempt. I just might. The melody is impeccable, although it always depends what mood you are in that day. Still 'Number Of The Beast' opposed to this? TKO! As Frank says, 'the music is magic!' Frank went a step further in 85' with 'Peace In Our Times' for the Rambo II soundtrack, with the images of war torn vets in a dishevelled state tracing the names of the departed at the Vietnam memorial. Just take a look at Frank on the cover, the cool is dripping off the man, especially in the instrumental breakdown of 'Running' when he says 'come on!' and growls 'uhh!'.
This may be a relic from a bygone era, but it is timeless in its appeal. For lovers of melody and musical suspense you'll never find better. Frank gave up the craft decades ago, but in essence he did all he could in one album, just like Bolton did with his three from 83-87. If anyone cares to hear the evidence get in touch with me via Frank Stallones management and I'll supply you with a copy. It'll more than adequately replace that stale copy of 'Sabbath, Bloody Sabbath' in your player.