Bloody marvellous.

Ted Poley is one of the best front-men/vocalists in Melodic Hard Rock... period. His voice is instantly recognisable and on all recorded output, his silky tones usually add the magical fairy dust that many bands, despite having the songs/producer, just fail to achieve.

If I were to be in any way critical, I would criticise the fact that despite possessing one of the most recognisable and superb voices in the genre (aside from his work with Danger Danger and a couple of decent Bone Machine efforts), Poley has, for the most part, lacked the material, rather than the ability to deliver; with 'Beyond The Fade', wrongs have been righted, big time.

Anyone will tell you, it's all about the material (take a bow Tom and James Martin/Alessandro Del Vecchio); after all you can't make a silk purse from a sow's ear can you? Fronting DD, Poley has been spoilt working with the Bruno Ravel/Steve West partnership that churned out high quality Melodic Rock easily. Poley, whether intentionally or unintentionally, has steered 'Beyond...' out of the meatier realms of power chords and "whoa whoa" territory into what can best be described as a more "mature" release chock full of superb FM melodia.

The opening hat-trick of 'Let's Start Something', 'Everything We Are' and 'Hands Of Love' (from the Blonz 1990 self-titled album) sets the tone for the remainder. Three top drawer tracks given the treatment – wonderfully produced, slick slices of pure AOR that immediately make you wish for more. 'The Perfect Crime', featuring the wonderful Issa, is balladry of the highest order and the US Adult Contemporary Chart would explode if the song is given the exposure it deserves. 'You Won't See Me Cryin'', with its effortless groove and insanely memorable chorus, vies for top honours along with the monstrous 'We Are Young' and the up-tempo strut of 'Sirens'. Special word for "Super" Mario Percudani (Hungry Heart, Lionville, Mitch Malloy), his playing further cements his reputation as not only a super player, but someone that plays with touch, dexterity and class.

Despite 2006's 'Collateral Damage' and 2007's 'Smile' standing head and shoulders above any of Ted Poley's previous solo output, they fade into the background when compared with 'Beyond The Fade'. Amazingly, it has taken his entire career to come up with an album that genuinely warrants the label of his best solo work... and it is – bloody marvellous!

Kieran Dargan