FM

Jono Moulds checks out the new album from FM for The Rock & Roll Circus. "Thirteen" is due for release on March 18, 2022, via Frontiers Music s.r.l.

2022 will see the release of melodic rock stalwarts FM's thirteenth studio album, the appropriately titled "Thirteen". Produced by the band, "Thirteen" is yet another high-quality 
album that furthers the band’s standing as one of the premiere melodic rock entities in the world.

The band's current line-up, in place since 2008, has spent the last decade plus writing, recording, and touring and thus is an incredibly gelled and cohesive unit. The rhythm section of bassist Merv Goldworthy and drummer Pete Jupp anchor FM with a rock-solid backbone, while guitarist Jim Kirkpatrick delivers delicious hooks and melodies with keyboardist Jem Davis adds lush layers to the band's dynamic sound. And what more could be said about Steve "The Voice" Overland, whose golden pipes have easily withstood the test of time and who still sings like an angel, while adding delightful guitar parts to the proceedings. The five piece once again bonds together as the mighty unit FM on "Thirteen" and delivers beautiful melodic rock that their fans have come to expect.

This review is going to be a ‘labour of love ‘for me as I’ve been a fan of FM for many years, going back to the ‘Indiscreet’ album, way back in in ’86. I’ve also had the distinct pleasure of experiencing them live, most recently, just before the pandemic kicked in and they were on fire that cold and rainy night in Cardiff, so let’s crack on.

So, what am I expecting, that is, before I even hear a note – well, in a nutshell, top shelf AOR, with a rock edge and melody? So, let’s unwrap this baby and see if it delivers.

Opening this selection box of AOR is ‘Shaking the Tree’ which kicks in with heavy, saturated synth and guitars as a heavy, driving drum beat thumps along. ‘Overland’ arrives on cue, with that unmistakable vocal, which hasn’t bent or deviated at all throughout the years. His opening tirade is backed by more synth work from ‘Davis’ as a smattering of guitar dances in and around the spaces. The tune has a ‘bluesy’ type structure in places, but it doesn’t stick to this formula as it musically moves as we hit the chorus. There is classic sounding ‘FM’ bridge added before an understated guitar riff leads into solo, harmonies abound. Not just a great and strong opening track, but quite possibly an opener for those up-and-coming live shows.

‘Waiting on Love’ is track number two as more grumbling synth work by ‘Davis’ feeds the start, before a more melodious chord pattern gives the song it’s direction, strong with guitar and drums. However, this comes to a halt as the opening turns into verse as that power is let go and we have some crystalline chorus guitar and a classic AOR vibe takes over. A softer section, that gives room for ‘Overland’ to show his vocal wears. Already this has some classic ‘FM’ traits, no more so than those by silky, smooth and melody laden support vocals. The song has an up-tempo, feel-good factor all the way through it, and you can’t help but love it, as those harmony guitar solos drop in and just make you dance. Polished and well written.

A somewhat misleading beginning to ‘Talk Is Cheap’ as a series of clean picked chords, a simple solo and some lovely ‘Oooh’s’ from ‘Overland’ settles in, but this short lived. The song turns on its head soon enough with just one strike of the snare, which signals a heavy guitar flurry that runs out into some serious riffage – a complete change from the opening. We are now in the realms of some cool, bluesy rock – oh yes! The chorus offers some slight relief, as it gives the song a commercial edge, but those hard-edged riffs and hooks some return in force. Heavy beats and jagged short bursts of guitar and bass are what the bridge is all about, which once again leads to the guitar solo, which this time, leaves the harmony behind, as this is straight ahead and no nonsense. This Is a big reason why I love this band – great contrasts between tunes, which we’ve already seen within the opening three tunes. Get in!

‘Turn this Car around’ is next up and right from the get-go we already have a seriously upbeat and positive musical introduction going on, full of sparkling keyboard runs and supporting guitar. The song itself is lyrically all about relationship regrets and wishing that there was a way of going back to that point in time – classic stuff indeed. The initial verse pounds away, as ‘Goldsworthy’ keeps his bass work steady and solid, allowing the rest of the band to do their thing. The chorus is as catchy and is as upbeat as the tunes opening arrangement and does not disappoint in any way at all, as it seeps form every pour of top-notch AOR magic. ‘Overland’ produces some superb vocal on this track, displaying his undoubted vocal abilities as he hits some seriously high notes throughout. Nothing wrong with this song, nothing whatsoever!!

And onto ‘Love and War’ with its acoustic guitar start while ‘Jupp’ keeps a simple, solitary beat on the kick drum. This is musically about as far away from the last song as you get from ‘FM’, where the track eventually yields and a series of staggered beats call forth a change in direction, where the band all power through to the start of the first verse. The verse itself ‘backs off’ the gas and subtle guitar and almost ‘glockenspiel’ sounding support keyboard are laid down with immediate effect. At this stage of proceedings, the tune has a mid-pace, rumble about it with the expectation that we are marching toward something a bit different and resounding. This is indeed the case, and it comes in the form of the chorus, as the full unity of the band’s sound comes back into play. I love the contrast between how the arrangement differs musically from verse to chorus (plenty of space given within the verse, and then building up toward and in the chorus itself). There are some lighter moments at the bridge, leaning back on an AOR style, but that changes once more during the guitar solo section. Another top song, showing another dimension.

A simple drum roll and we are heading down the ‘Long Road Home’, with its bluesy feel of keyboard and harmonised lead guitar introduces this slow burner. There’s plenty of acoustic guitar and piano on show as ‘Overland’ opens lyrically with ‘Another night, another City – Another day, another year’ as that slow groove builds. This song is quite obviously a story of of a ‘life on the road’, which these guys would have had an enormous amount of experience to lean on. As we steadily move through the track, there are some deft guitar breaks added, which really make the song come alive and fill those spaces with more bluesy overtones – brilliant. The track doesn’t deviate away too far from its core, as both verses and further choruses retain that edge and fusion of AOR, and Blues inspired rock. Once again, ‘Overland’ produces a masterful vocal performance, as the rawness within his voice sits on top the track superbly. A glistening and well-crafted guitar solo cap off what is my favourite tune so far on the album. Outstanding work.

‘Be Lucky’ kicks in with a tight roll on the snare drum, just before a combo of guitar and keyboard conjure the opening hook, as we arrive back at our normal destination of AOR’sville, USA. Although this song opens with all the ‘FM’ traits, it has a less poppy feel to than ‘Turn this Car Around’ offered, earlier on the album. This has a constant and metronomic beat at its heart and moves not a jot, only the addition and subtraction of the band (at various stages) giving it an element of variation. The chorus has an instantaneous feel about it and is full of sweet support vocal. Some further evidence of well-crafted guitar work presents itself at the two thirds mark and demonstrates that you can ‘mix ‘n match’ a softer tune, whilst maintaining some edge. A song that lends itself to the ‘lighter’ side of the album so far, but certainly sits nicely within the concept and structure of the album.

A strong and heavy riffmungus opening to ‘Every Man needs a Woman’ as guitars take the lead, all the way to the opening lines. Already, this just proves how versatile the band are, as they can shift (with ease), from a soft, ballad tune, right the way across the divide to this rockier offering. The starting sequence of the opening verse has punctuated guitar bursts and some ‘slick’ bass lines, while ‘Overland’ fills all the gaps effortlessly. As the pre-chorus arrives, so does the rest of the band, as the intensity is raised a smidge. The chorus itself lets up not an inch, as there are more riffs than you can shake a stick at and a series of ‘Ohs’ added for maximum ‘sing-along’ effect. There’s an almost funky guitar orientated bridge to look forward to that prefaces the brief, but effective guitar solo. Top song, which will no doubt be a valued addition to the set list when played live.

So, let’s get going with ‘Just got Started’ where we are met with the diminishing strains of a sliding synth note and a robotic announcement, that simply utters - ‘Let’s get Started’. After this, we welcome in further heavy synth and drums, but the guitars are never too far away, as they break into action with ‘flicks and riffs’, as the bass pounds away steadily to give the song its vibe and pace. The tune has a great mid-paced growl to it as we move with increasing musical menace from verse to pre-chorus. The chorus has yet more drive to it, as ‘Jupp’ increases his familiarity with the snare drum, as the beat and the pattern changes, which gives the chorus some extra ‘juice’. An almost ‘Country and Western’ style guitar bridge paves the way for the tracks sublime solo. A solid and rock fused tune – ‘Oh yeah’

‘Fight Fire with Fire’ is the penultimate track on the album, that from the off, offers quite some variance within the opening, and ‘how so you ask?’ Well, things get underway with a salvo of lead guitar work, that gets immediate backing from a wall of keyboard, but this is fleeting and replaced with some palm muted guitar and yet more sweet support vocal, but more falling on the chanting side of the fence this time (Woah’s aplenty here). Things calm down a tad after this, allowing the vocal some ‘me time’ throughout the opening verse. Even from early doors, the song has a great mix of both ‘Rock vibe’ and more than enough ‘AOR soaked ingredients’ to satisfy all facets of the ‘FM’ spectrum. Also, it’s of immediate interest that ‘Davis’ ‘sprinkles’ some serious synth value to sections of the track, which is never over played, but enough that it’s creates a major hook within the tune. The chorus, is once again, full of classic ‘FM’ thrills, where overlayed support vocal is used to maximum effect – cannot be faulted. Another unusual signature is noted during the guitar solo (or is it solos??) where the main lead work is backed by a somewhat simpler lead, that sits in the background, but fuses together brilliantly. These top songs just keep on coming, and I, for one, am not complaining on bit.

Last, but by no means least we have ‘Be True to Yourself’. Within the first seconds of the track, there feels like a connection (in parts) to ‘Toto’s – Hold the Line’, where it has that constant keyboard rhythm and pattern, but it’s only momentary. Outside of this quick/initial observation, the track starts to take form out of some deep guitar riffs and flowery keyboard lines, all before we hit the bluesy/R&B sounding opening verse. There is a lot of strong vocal to be found within the vocal, which is more than competently supported by further backing singing, which also has that R&B influence/stamp on it. We have the luxury of two guitar solos to feast on, the second one is embellished with full on WAH pedal bluster, as the song comes to a faded end game.

So, it’s time to wrap up. This new ‘FM’ release ticks all the boxes in terms of what to expect from a band that has stood the test of time, and continue to produce some top-level AOR. There is plenty of variety and flexibility amongst the 11 songs that make up this album, which has been superbly crafted and produced, making it a more than welcome addition to the body of work they have brought out throughout their career. You can’t help but be more than impressed with the continued and exquisite vocals that ‘Overland’ produces. I can’t hear a single major change here from that unique vocal that I heard all those years ago – quite superb. The band are on top form too, which you can hear within every song they’ve conjured up for this new release. Bravo!!

They say that ‘Thirteen’ is unlucky for some. I have a feeling that won’t be the case with this album. Loved it, and hope to see them perform a number of these tunes live in 2022. Top-level AOR from the UK Masters of the genre!!!

Review by Jono Moulds

The new album ‘Thirteen’ (hopefully, not unlucky for them!!) will be released March ’22 and a full UK tour has been announced starting around the same time. The current band line up consists of: -
Steve Overland - Vocals, Guitar
Merv Goldsworthy - Bass
Pete Jupp - Drums
Jem Davis - Keyboards
Jim Kirkpatrick - Guitar

 Links to FM:
Website
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Check out the latest video for "Turn This Car Around", taken from the album "Thirteen".

Tour dates :-