Over The Edge – ‘Over The Edge’

(Frontiers Music)

There are some voices that simply belong to a particular era of rock music. Voices that, within seconds of hearing them, transport you back to a time when melody was king, choruses were built to be remembered and AOR was a glorious combination of huge vocals, polished guitars, keyboards and songs that could comfortably sit alongside the best rock radio had to offer. Starship’s Mickey Thomas is most definitely one of those voices.

Originally released in 2004, Over The Edge is one of those albums that perhaps didn't receive quite the attention it deserved at the time. Put together with producer and multi-instrumentalist Fabrizio Grossi, the project brought together an impressive collection of musicians and songwriters, including Neal Schon, Steve Lukather and Richie Kotzen. Yet despite the pedigree involved, this is not an album that relies on famous names to make its impact. At its heart, Over The Edge is simply a very classy slice of AOR.

And thankfully, it has vocal legend Mickey Thomas.

Thomas has always possessed one of those instantly recognisable rock voices. There is a wonderful combination of power, smoothness and emotion in his delivery, and he sounds absolutely magnificent here. His voice has enough grit to prevent the material becoming overly polished, while that unmistakable upper register gives the bigger moments the lift they need. Whether he's delivering a restrained passage or opening up for one of those soaring melodic sections, there is never any doubt who is behind the microphone.

The songwriting is equally important. Over The Edge is very much rooted in the classic AOR tradition, but it doesn't sound like an album desperately attempting to recreate 1985. There is a modern sheen to the production, something Thomas himself described at the time as combining an Eighties Starship-style sound with more contemporary production. The result is polished without being sterile, melodic without becoming sugary and commercial without sacrificing the rock edge.

Fabrizio Grossi deserves considerable credit for the overall sound. His keyboards provide a wonderfully rich foundation throughout the album, filling out the arrangements without dominating them. There is plenty of atmosphere lurking beneath the surface, particularly when the songs slow down, while the more energetic material benefits from muscular bass, crisp drums and guitars that know exactly when to step forward.

And what guitars they are. The album boasts an extraordinary collection of players, with Neal Schon, Steve Lukather and Richie Kotzen all contributing, alongside Rob Vanni and J.M. Scattolin. Rather than turning the record into some kind of guitar-hero showcase, however, the playing is remarkably disciplined. The solos are there to enhance the songs, not overshadow them. That is exactly how it should be in AOR.

The album's greatest strength is probably its consistency. At around 47 minutes, it doesn't overstay its welcome, and there is enough variation in pace and mood to keep things interesting. There are driving melodic rock moments, smoother West Coast-flavoured passages and more reflective material, but everything belongs to the same musical world.

There is also a wonderfully old-school sense of songwriting here. These are songs built around melody, harmony and memorable vocal lines rather than studio trickery. The choruses have genuine lift, the arrangements are carefully constructed and the backing vocals add another layer of polish. It is music that understands the importance of a big hook.

That said, Over The Edge isn't a perfect album. There are occasions when the slickness threatens to take some of the bite away, and some of the material feels more solid than spectacular. This isn't an album that is going to reinvent AOR, nor does it particularly try to. It is very much a celebration of the genre's strengths. If you're looking for something radical or adventurous, this probably isn't the place to start.

But if you love classic AOR, melodic rock and beautifully crafted vocal performances, there is an awful lot to enjoy.

What impresses me most is just how effortlessly the album sits between classic Eighties AOR and the more polished melodic rock production that became prevalent in the early 2000s. It doesn't feel dated, but neither does it abandon the characteristics that made the genre so appealing in the first place. Big melodies, soaring vocals, tasteful guitars, lush keyboards and choruses designed to stick in your head, they're all present and correct.

‘Over The Edge’ is a strong opener that immediately establishes the album's melodic rock credentials. The production is polished but retains enough guitar muscle, while the vocals are the real star. Mickey Thomas sounds fantastic, bringing power and emotion to a song packed with classic AOR atmosphere. A confident way to kick things off.

‘One World’ is a more expansive and uplifting number, with a strong sense of melody running through the arrangement. The keyboards add plenty of colour, while the guitars provide the necessary rock edge. Thomas delivers another excellent performance, particularly when the chorus opens up. An accessible and memorable slice of melodic rock.

‘Thief’, there's a slightly darker feel here, giving the album some welcome variation. The rhythm section has more bite, while the guitars add a little extra grit around Thomas's smooth vocal delivery. The songwriting remains firmly rooted in AOR, but there's enough attitude to stop it becoming overly polished.

‘Surrender’ is where the album's softer side comes to the fore. A beautifully melodic ballad with plenty of emotional weight, it allows Thomas to show just how expressive his voice can be. The arrangement is suitably restrained, letting the vocal and melody take centre stage. Classy stuff.

‘Eyes Wide Open', a more energetic performance with a wonderfully infectious chorus. The guitars have greater prominence here, while the keyboards sit underneath the arrangement and provide that unmistakable AOR sheen. Thomas sounds powerful without ever over-singing. One of the album's more immediate moments.

‘Forest For The Trees’, a thoughtful and atmospheric song that benefits from its slightly more understated approach. There's a lovely sense of space in the arrangement, and the vocal melody is particularly strong. It isn't necessarily an instant anthem, but repeated listens reveal plenty of detail and craftsmanship.

‘The Man In Between’, another solid melodic rocker, built around a strong vocal performance and some excellent guitar work. There's a nice balance between the polished production and the harder-edged instrumentation. The chorus has the kind of classic AOR construction that makes it easy to sing along with.

‘Cover Me’, a warmer, more emotional number with plenty of melodic sophistication. The keyboards are particularly effective here, adding depth without becoming intrusive. Thomas once again proves why his voice is so well suited to this style, bringing both warmth and power to the performance.

‘Turn Away’, the tempo picks up again, giving the album another burst of energy. The guitars sound crisp and muscular, while the chorus delivers the expected melodic payoff. It's a straightforward melodic rock song, but there's nothing wrong with that when the execution is this polished.

‘Glory Day’ is a fitting finale with an uplifting, celebratory feel. The arrangement builds nicely and gives Thomas plenty of opportunity to deliver another big vocal performance. It leaves the album on a positive note and neatly sums up everything that makes Over The Edge such an enjoyable AOR release: melody, musicianship, atmosphere and a great voice.

There is a certain comfort to an album like this. You know what you're getting, but when the songwriting and performances are this strong, that isn't a criticism. Sometimes you simply want to put on an album, turn up the volume and enjoy some beautifully performed melodic rock.

Over The Edge delivers exactly that.

It may have arrived somewhat under the radar, but this is a classy and highly enjoyable AOR record that deserves to be rediscovered. Mickey Thomas remains the star of the show, his magnificent voice providing the emotional centrepiece, while Grossi's production and the stellar cast of musicians ensure that everything sounds suitably grand.

It’s worth noting this re-issue has been remixed by Aldo Lonobile giving the album a more up to date punch so even if you already own the original this is still worth checking out to hear these songs slightly enhanced!

For fans of classic AOR, melodic rock and that glorious intersection between Eighties arena rock and polished modern production, Over The Edge is certainly worth revisiting.

9/10

Essential Track – ‘Turn Away’

Review by Woody