THE LIZARDS, AGAINST ALL ODDS CD REVIEW ON ROCK N ROLL UNIVERSE

Have you ever heard a band and just known that they had the ability to, given the right opportunity, to come up with a truly classic album? Well, that's how I felt from the first time that I heard The Lizards. Being a fan of Sir Lord Baltimore, my interest was initially piqued when a friend from Sweden sent me a copy of their self titled debut, which was a damn fine slice of bluesy hard rock featuring the incredible vocals of former SLB John Garner. From that point on, I've been a big fan of the band, and watched them progress from album to album, growing as a band, growing tighter all the time. Garner left during the writing process for the band's last studio effort 'Cold Blooded Kings', replaced by Riot vocalist Mike DiMeo, who did an extremely commendable job of laying down the vocals, coming in after the writing was almost completed, making that album yet another winner.

Yet, on this new release, the band has stepped everything up a notch, taking the music to the next level. The songwriting and musicianship have truly gelled, they've matured as a band, and the results are outstanding. From the opening track, "I'm No Good," it's quite obvious that these are musicians playing to win. Sounding more like a BAND than ever before, the percolating rhythm section of bassist Randy Pratt and Bobby Rondinelli lay down a groove that's to die for, driving the song along admirably, and right away the album's off to a great start. DiMeo displays a restraint which shows the amazing control he has, never over singing, sounding like a tempered David Coverdale, while guitarist Klein proves once again what an underrated player he is, as his leads snake through the mix with somewhat of a Middle Eastern feel ala Ritchie Blackmore in Dio era Rainbow. Although those influences are still present, it's instantly identifiable as a Lizards song, showing they've gone a long way towards transcending their mentors and establishing their own sound. Next we have the truly amazing epic 9 minute plus "Can't Fool Myself", with its "Santana meets Deep Purple meets The Allman Brothers" type of feel alluded to during interviews I conducted with the band during the past year, immediately reminiscent of a groove not far removed from the Santana classic "Soul Sacrifice," only with a heavier vibe. Klein's guitar work reminding one at times of classic Deep Purple's "Pictures Of Home". DiMeo shows exactly why he's the right man for the job with this band, as he delivers an incredible vocal performance here. Moving along we're treated to the first of four duets featuring none other than "The Voice Of Rock", Mr. Glenn Hughes on "On A Wire", a track with its down and dirty funkiness wouldn't have been out of place on the Purple album 'Come Taste The Band'. The blending of the two voices works perfectly here, and fans of Hughes' work will lap this up.

The bluesy instrumental "Planck Time" features some tasty blues harp courtesy of Pratt, then harpsichord- like keyboards from DiMeo herald the beginning of "Ariel" a progressive, almost pastoral number which throws the listener for a curve after all the high energy blues rock that came before. Featuring swirling layered harmony vocals and an incredible solo from Klein, this showcases the band's diversity, paired with the mystical "My Dark Angel" which the former blends into, it adds up to yet another wonderful 8 minutes of music. "Bad Luck Is Come to Town" is a shorter, more direct rock song, which contains more solid perfomances."Take The Fall" is the second duet between DiMeo and Hughes, this time more of a romantic ballad, replete with a real string section. Arranged by Lorenza Ponce, who's also done arrangements for Sheryl Crow, the string section melds to the song rather than being overbearing, and is a great touch. Using real instruments versus synthesizers show the care the band has put into this album. "Revelation No 9" is another epic track, it's nearly 9 minute form allowing for some very interesting guitar/keyboard interaction another example of fine musicianship on display here. Another duet with Hughes, it shows them interlocking perfectly.The funk returns, with a horn section this time, on "Take The Fall", another song co written with Hughes, who lends his natural funkiness and distinctive vocals to the track."Eleven," goes the romantic ballad route once again, with keyboards before English hard edged pop slightly reminiscent of The Who rears its head on the album's finale "The Arrival Of Lyla" which ends the album in fine fashion.

With 'Against All Odds' these hard rockin' reptiles have slithered their way to the top of the new "original" classic rock heap. In doing so they have crafted one of the most enjoyable, and therefore finest albums of this fruitful musical year in the process. If you're a fan of classic rock, or classy rock for that matter, this is a "must have" for your collection. Like their alien counterparts on the cover, they're simply out of this world. Highly recommended. 10/10 www.thelizardswebsite.com