I'll be honest this was my first taste of 'Lizzy Borden', and his revival has certainly won over a new fan.

Its been nearly a decade since the last release from 'Lizzy Borden' but judging by this, the comeback album, you couldn't tell. The script is still the same, simplistic but in-your-face, old school glam metal, with 'Lizzy' himself sounding great, his distinctively powerful voice losing nothing over the years. Why the rest of the band numbers ten I don't know, seems a tad excessive, but they don't all play on the same tracks and what they do play is of high quality, so no complaints there. The song writing as usual won't win any awards, but like a lot of fellow 'Hair Metal' bands they can get away with it, to a certain extent. Also checkout the cover, a real nice piece of artwork.

The album kicks off in spectacular form, 'There will be Blood Tonight' is an absolute belter. Full throttle guitaring mixed with simple but killer lyrics all tied together with 'Lizzy's' powerful melodic voice, the recipe for the best track of the album- you will be singing along to the chorus after a couple of listens guaranteed. The intro to 'Hell is for Heroes' sounds a tad uneasy on the ears, but soon settles down into a quality basic rocker, with another catchy sing-a-long chorus and solid driving axe work. The title track is another chorus heavy gem that continues in similar fashion to the openers, the grooving rhythm is a treat and the simplistic lyrics will make you raise your fist in the air. The more experimental 'Zanzibar' is inspired with mystical eastern overtones, and is complimented by gutsy vocal harmonises and driving guitar work, a tad repetitive for my liking, but still a solid number. 'Lovin' you is Murder' sound straight out of the 80's, again lyrically basic but there's enough tasty licks to make this a decent number, 'Lizzy' also seems to do his best to sounds like 'Bruce Dickinson'. The more modern sounding 'We only come out at Night' comes off really well, the aggressive choruses contrasts the slower verses splendidly, and this is all enhanced by a thumping backdrop. Next up is a cover of 'Alice Cooper's' 'Generation Landslide' a well executed version, but this has never been one of my favourite numbers. Ok you can let some elementary choruses go, but I must draw the line at 'The World is Mine', this is just too predictable and trite, probably my least favourite track present. Better is the galloping rocker 'State of Pain' with its grooving rhythm, but this isn't as good as the excellent cover of 'Blue Oyster Cult's' '(This ain't) The Summer of Love'. A thumping rendition with 'Lizzy' ripping through some challenging lyrics with ease, the rest of the band also turn in a stellar performance to make this a top cut. The closing track 'Believe' is the slowest number present not quite a ballad but definitely less ripping, there's hints of a medieval sound and the more in-depth lyrics, make for a more mature sound- good wind-down track to a respectable comeback album.

Not the most sophisticated Metal ever penned but a really enjoyable release from the man a lot of people had written off.