It’s common when a new band arises from the ashes of a dead one, and it’s the reason that anyone can have the feeling of ‘this-reminds-me-of’. Back in the 80s, THIN LIZZY was put to rest after 14 years of seminal contributions to Metal and Hard Rock (or do anyone believes that IRON MAIDEN created the unusual twin harmony lead guitar sound?), and Phil Lynott was free to embrace new projects. Siding with his solo career, Phil joined forces with the guitarist Laurence Archer and others and created GRAND SLAM. But as Phil passed away in 1986, the quintet was put to rest, but on 2016, Laurence brought it back with a new lineup, and released the full-length “Hit the Ground” back in 2019. And here they’re back with “Wheel of Fortune”.

The sonority sounds simple and organic as it was recorded in few shots with gears set and without endless corrections (by the way, it was recorded at Chapel Studios, and with additional recording at Manamana Studios), with Laurence signing the album’s production and mixing, with sound engineering done by Pieter Rietkerk and with mastering by the hands of Matt Wortham and Andy Pearce. But one must understand that the sonority is huge and sharp as well, what means that the old models were updated for the album.

The quartet works on a model of Hard Rock that has resemblances with acts as WHITESNAKE on the days of “Slide It In”, THIN LIZZY, BLACK STAR RIDERS, UFO and others bands of the genre. In other words, a fine combination of melodic and elegant melodies with a nasty touch of distortion, many influences of Boogie, Rock ‘n’ Roll, Blues and Country Rock (“Pirate Song” depicts this last one clearly) and even some accessible moments (as heard on “I Wanna Know!”), but one must understand one thing: this album has no intention of relying on the past works of its members, or even with other musicians related to them. No, not at all, because GRAND SLAM is a band with its own value, and it’s truly huge!

“There Goes My Heart” opens the album with a melodic and catchy ambience, a perfect live hit (with many harmonic leads of the guitars), being followed by the Hard Rock/AOR mix depicted on “Starcrossed Lovers” (an accessible song with a simple technical insight, and with a very good work on bass guitar and drums, and what catching chorus). On “Come Together (in Harlem)”, the band uses a heavier approach, but always based on very good melodies and a happy ambience (and what good melodic vocals). And then the Bluesy touch on the sharp guitars of “Trail of Tears” comes with its elegant set of hooks.

A ballad comes on “Feeling is Strong (Jo’s Song)”, a song for a refreshing moment, filled with excellent chords arrangements. And as a contrast, “Spitfire” is a frantic Hard Rock/Heavy Metal song with tons of weight sharpened by strong melodies (and it’s hard to resist to its appeal). Things become accessible again with “I Wanna Know!”, with many AOR/Glam Rock moments (and it’s not a sin at all, because the song is excellent, with very good vocals again). And “Pirate Song” comes with that Country Rock influence usual to Hard Rock on the guitars, until it gains weight and energy (thanks to bass guitar and drums again).

“Afterlife” is a fine combination of melodies and weighty, with contrasts between melancholic parts and heavier moments. And closing the album comes “Wheel of Fortune”, a beautiful ballad with fine arrangements and fine vocals parts (and with a heavier set of guitars’ parts on the chorus).

It’s clear that some will love it, others will lose their minds hating it, but no one can deny that GRAND SLAM has its place on the scene. And “Wheel of Fortune” depicts that the quartet isn’t living of its past, but walking now into the future.