AOR: a 3-letter word for a 1-man project and endless possibilities. AOR is, primarily, an all-star project with one consistent artist who has pumped out 15 albums over the course of 17 years, with talent from groups like CHICAGO, NIGHT RANGER, and even JOURNEY jumping on the train. The name AOR derives itself from "Album-Oriented Rock", a kind of radio format geared toward playing rock hits from the 80's and early 90's, which is exemplary to the style of this group, who has pulled together so many people to create some of the most fun, Hard Rock records with the spirit of days passed.

AOR's main man, Frédéric Slama, came to Los Angeles many years ago and lived there for over a decade as a music journalist. Not forgetting those years where the City of Angels was alight with the power of Rock n' Roll, Slama used his journalistic connections to call upon the old Rock n' Roll stars to help fulfill a dream. As a musician and a producer, Slama got to work and created some new music to carry on this memory.

AOR's newest release, "L.A. Darkness", is an effort to explore darker and "more melodic sides" of his style, Slama describes. To be frank, the album is primarily 80's Hard Rock, Pop Rock, and even carries hints of Glam Metal- music covered in silver and gold while roaring through Beverly Hills in a 1986 Camaro accompanied by a girl clad in all leather. "L.A. Darkness" features vocalists Jeff Scott Soto (YNGWIE MALMSTEEM and LITA FORD), Steve Overland (THE LADDER and WILDFIRE), Kevin Chalfant (THE STORM and JOURNEY), Jesse Damon (SILENT RAGE), Paul Sabu (SILENT RAGE and some guitars on the album), Henry Small (PRISM), Philip Bardowell (THE BEACH BOYS and PLACES OF POWER), Rick Riso (MESSENGER), Alessandro Del Vicchio (HARDLINE), Sarah and Melissa Fontaine, and Tommy Funderburk. Quite a group put together, if I do say so myself. Not to mention "L.A. Darkness" also features a few other session musicians like Tommy Denander and Colin Rodgers, aiding on guitars and drums. Even Slama himself provides some of the guitars and keyboards. The bonus track instrumentals were provided by Bruce Gaitsch, Mario Percudani, Stefano Lionetti, Alessandro Del Vecchio, Anna Portalupi, and Pierpaolo Monti. Having gotten acquainted with Slama vicariously through research, I've come to the conclusion that this man must have some serious connections and charisma to bring together so much talent.

"L.A. Darkness" is well-mixed, which, after 15 albums, is to be expected. What's even more impressive is that all the producing is done by Slama as well- a jack of all trades! Only sometimes, however, the vocalists may be brought a bit forth too much and leaving the rest of the band behind, which should be more present. However, this isn't consistent through the entirety of "L.A. Darkness". The sounds may come off a bit stereotypical and generic, especially when we think "80's Hard Rock", but damn they groove oh, so well. The guitar work is powerful, soaring, and passionate- reflecting the triumphs of those golden years and stirring something within me that this genre has rarely accomplished. Needless to say, much of the instrumental work goes above and beyond. However, the drums are a bit simple for my tastes, though they serve their purpose. It may be a bit counter-productive to what the album is trying to accomplish, being mostly a vocal-feature, but I would have loved to have heard a bit more innovation on the rhythm section in certain places. Perhaps an extra instrumental or 2 to change things up a bit.

Some of the songs come off with absolute fire and soul with technical guitar work and shredding solos, like "The Smartest Girl in L.A.", "Desire Turning into Dust", "Seven Storms", and "Burning Rainbows". The outro solo on "The Locked Soul" had the licks to be one of the fastest parts on the album, though it faded out with the outro. I believe that the tune could have been extended or even ended with a sting rather than a fade, allowing the outro solo to shine in all of its glory. Then there are ballads that "show off the melodic sides" like Slama was trying to accomplish. "One Foot in Heaven", "Why Girls Say No", and "No Margin For Error" are all great examples. Though "L.A. Darkness" generally sits within particular confines of a certain style, it would seem that staying in this area could lead to staleness. However, the raw power of the album keeps everything fresh and fiery; a fun listen all the way through.

After 15 releases, Frédéric Slama's dream doesn't seem like it's going to burn out any time soon, and shall continue to shine brightly. The mixing was well-done for the most part, the album stayed fun and fiery all the way through, and every one of the guest musicians delivered beautifully. All I know is, next time I find myself in the City of Angels on Sunset Boulevard, I'll be throwing on "L.A. Darkness" and cranking it full-blast.

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