ANGELINE is Swedish Rock band that originally formed in 1987. The band released several albums in the early days, but suffered some issues that caused them to split up. They also lost their original singer, Jorgen Sigge, due to some heart troubles. They split up for a long while. In 2010, they reformed and release a new album. Now, they are back in 2021, with their newest release, titled "We Were Raised on Radio," which contains ten new tracks.

"Helpless" leads off the album. It begins with the chorus, high with harmonies. The riff in the verses is somewhere between Rock and Metal, and harkens back to yesteryear. The singer has a decent set of pipes, and the harmonies remind me of DEF LEPPARD. "Closer" is more of a power-ballad, with clean guitars, bass strikes and vocal harmonies leading the way. For a revived band from the 80's, they sure sound sharp. This song could and should be played on FM radio. The guitar solo is minimalistic but really brings a strong melody with it.

"My Heart Won't Let you go" opens with some softer sounds, and those keys before the chorus are well-done. The chorus is high with harmonies, and those key notes are back again. The title track is a big anthem, beginning with emotive and expressive guitar parts. They sound more like WHITE LION here, minus the guitar pyro. There is just something so pleasing about the harmonies. "Remission" begins with a dirty little riff and a mid-tempo pace, but it doesn't connect well with the more positive sounds in the song. The song gets just a bit of an edge when the guitar solo enters.

"Closer to Forever" begins with some big guitar, bass and drum strikes, then gets rolling with a jovial riff, while Joachim stretches out a bit vocally. The chorus is super-catchy, and it gets another dirty edge with the ending guitar solo. "Baby Come Back" is a short, three-minute song with a familiar riff. It's sexy and sleazy, but the cowbell strikes are a bit odd. They work, but I suppose I just wasn't expecting them. The bridge after the second chorus is where the melody really shines.

"Come What May" begins with expressive guitars and a little solo. It's a slower sound with more poignant elements. The chorus is rich and full and makes you feel alive. "I can't deny any more that the river's run dry, and your heart's been broken...come what may" he croons. This might be the best song on the album. "Halfway to Anywhere" begins with a pretty standard riff, but they again pour it on in the chorus. Everything leads up to the big chorus, and it occupies much of the song. "Welcome to Paradise" closes the album, opening with a blues riff and the steady thwacking of bass guitar notes. Another big chorus is unleashed, along with some lead guitar notes.

This is an honest and genuine slab of AOR. Sure, the style has been done many times before, but that doesn't make the album any less pleasing. It's catchy, emotional, and makes you want to roll down your windows (we had to do that in the 1980's) and crank it up on a summer day, driving just for the experience. The vocal harmonies are key to much of the sound. I am not sure if Joachim Nilsson handles all of the backing vocals as well, but it would be cool if the entire band played a roll in the harmonies. Welcome back, men, it's good to have you still making strong music.