Search - Harlan Cage :: Harlan Cage

A blast from the past

Troy | the Netherlands | 09/24/2000

(5 out of 5 stars)

"Harlan Cage's first offering marks the revival of Los Angeles AOR band
Fortune, a one album wonder which released a sensational self-titled
LP back in 1985 on Camel Records (MCA). Reduced to a duo, comprised of
lead vocalist Larry "L.A." Greene and Irish keyboard player
Robert Scott Craig, they seem to have picked up where they left off
more than a decade earlier, playing the same brand of imposing,
bombastic Arena Rock (Journey meets Giuffria) that is associated with
their former selves, as if they've never been away. With Fortune being
ahead of their time and Harlan Cage's somewhat retro style the
difference in sound is only slight, and can largely be attributed to
an improvement in recording techniques and superior production
values. Their main reason for changing their name seems obvious, with
brothers Richard and Mick Fortune (guitarist and drummer) having left
the band. The name "Harlan Cage" was taken from (and i
quote:) "an American folkloristic character who had been either a
preacher, beggar, gypsy or thief" and is also "meant to
express their affinity with bands like Jethro Tull and Lynyrd
Skynyrd", although these should not be regarded as musical points
of reference.Harlan Cage are signed to German melodic rock label
MTM, for which they have released three CD's thus far. This 1996 debut
in my opinion is their best effort to date, but all can boast an
exceptional level of musicianship and songwriting. L.A. Greene's vocal
style is typified by such a distinct vibrato and dramatic verve that i
could pick him out of a line-up blindfolded with two hands tied behind
my back. Unofficially they could at this stage be considered a five
man outfit, with Michael Langlan (lead guitar), Brian Peters (bass,
vocals) and Richie Onori (drums) making up the numbers. Also at their
disposal were several guest guitarists, each performing on one or two
of the album's 13 songs. Mike Turner would return to play on more
recent albums, as would Billy Liesegang (of "No strings
attached" solo fame), who as of their latest release (entitled
"Forbidden colors") has become a full-fledged band
member. Still Robert Scott Craig's death-defying keyboard antics,
together with Greene's killer voice, remain Harlan Cage's principal
strength and most distinguishing trait."Pay the devil his
due" is a fantastic opener, instantly evoking memories of their
previous incarnation. Greene's compelling vocals and Craig's
stirringly pompous keyboards so determined the Fortune sound that each
of the songs on here could have featured on their 1985 album without
standing out. Harlan Cage has dispensed with the use of the saxophone
however, unlike Fortune, which had bassist Bob Birch excel on this
instrument. Moreover, whereas "Fortune" had included two
powerful ballads ("Stormy love" and "Stacy"),
"Harlan Cage" offers none. "Sweet salvation" and
the superbly crafted "Kiss of fools" come close though. The
latter was co-written by Tom Whitlock, who in past years had worked
with Larry Greene on songs for motion picture soundtracks (like
"Top gun" and "Over the top"). Closing track
"Let it rain" was written in collaboration with Toto's Steve
Porcaro. After three albums i have yet to hear a Harlan Cage song that
fails to meet the highest of standards. It is therefore not so easy to
separate the excellent from the supreme, but i would say that
"Pay the devil his due", "One naked kiss",
"Three nights running", "Too much" and "Kiss
of fools" are a cut above the rest, along with the 1996 reworking
of Fortune's "98 in the shade". Compared to the original,
this song has an added section which features some topnotch guitar and
keyboard soloing.While Fortune's only release (produced by Kevin
Beamish), like most certified AOR/pomprock classics, fell mostly on
deaf ears, Harlan Cage has deservedly claimed top billing among those
artists whose work is released by European labels dedicated to the
genre (Escape, MTM, Frontiers a.o.) and has achieved unwavering
popularity among melodic rock enthusiasts. For listeners as yet
unfamiliar with their music, sampling a few minutes of any of their
albums will suffice to illustrate why. Harlan Cage has made a habit of
including one Fortune song per album release: "Dearborn
Station" (awesome !) can be found on "Double medication
Tuesday" (1998) and "Thrill of it all" on
"Forbidden colors" (1999). I am eagerly awaiting the
inclusion of my two (remaining) favorite Fortune tracks, namely
"Smoke from a gun" and "Bad blood", while holding
out for Fortune's eventual CD release. In the meantime, Harlan Cage are
a more than worthy substitute.Note (insider joke for fellow
Xenites): "Time is the father of hope" claims a line from
"One naked kiss". Beg to differ. I believe the culprit's
name is Dahak. Pay the devil his due !









"

A Top 30 all-time classic ...

N. Page | UK | 09/11/2003

(5 out of 5 stars)

"Harlan Cage's 1996 debut marked the revival of Los Angeles AOR band Fortune, one-album wonders who released a sensational self-titled Giuffria/White Sister styled album back in 1985 on Camel Records (MCA). Vocalist Larry Greene and keyboard player Robert Scott Craig didn't quite pick up where they left off more than a decade earlier as, minus the two Fortune brothers, the bombastic arena rock gave way to a more retro laid-back style of melodic rock. The name "Harlan Cage" was taken from (and I quote:) "an American folkloristic character who had been either a preacher, beggar, gypsy or thief". Apparently this was meant to express "their affinity with bands like Jethro Tull and Lynyrd Skynyrd". Although these last two bands shouldn't be regarded as musical points of reference, despite the folksy " Run Rebel Run" or the `spaghetti western' -style feel of "98 in the Shade" you kinda get the comparison. Harlan Cage's principal strengths and most distinguishing traits are Scott Craig's stirringly pompous keys and Greene's rough-edged voice, although I tend to think that the latter is something of an acquired taste. The song writing is exceptional. The material on this, their MTM Music debut, just like the Fortune album, was co-written by Green and Craig. But collaborations with Steve Porcaro (Toto) and Tom Whitlock (mainly known for his soundtrack songs on Top Gun and Over The Top and his work with the founding father of computer-disco Giorgio Moroder) make up a track list that is full of highlights.
"Pay the devil his due" is a fantastic melody-fuelled opener and the album continues in the same vein with the smouldering balladesque "One naked kiss". "98 in the shade" is a reworking of the Fortune track. Its deep southern-style keyboard chord refrain is hauntingly evocative. The pomp strut of a song like "Three Nights Running" has been described as the "most over-the-top version of Journey you ever heard" with its huge and symphonous keys. The vocal is plaintive, burning with raw emotion .." I'm driving three nights running until I see you again ".. "Wires and Chains" has a boucy uptempo strutting verse that powers into a fluid melody-filled chorus and another addictive hook. "Kiss of Fools" is a superbly crafted, atmospheric and sombre Tom Whitlock song with drum loop samples and a half whispered vocal that carries the melody. A real slow burner. "Destiny" hyperventilates "I was made for loving you " with its typical Geogio Moroder computer-disco back beat, sounding like it might have been written for Donna Summer until Graig's huge keyboard refrain kicks in. Not much in the way of a guitar riff on these tracks and Billy Liesegang's six string contributions are suitably understated and languid throughout. Harlan Cage also dispensed with the saxophone on this album although restored it on later MTM releases. This is one of their best, although as it appeared in the melodic wilderness of the mid-90s I doubt whether it is as well known as their later albums. To sum up, a consistently high quality album with its addictive hooklines, shades of feeling and heavy keyboard rhythms, brimming with emotion. Another album that makes it into my Top 30."