FROM BEHIND – Game Over

Featuring guitarist Manny Charlton (Nazareth) and vocalist Nicky Moore (ex-Samson,-Mammoth), From Behind has a couple of true veterans in its ranks. Contacted through arrangers of Sweden Rock Festival, where they went on and opened this year, this band was assembled first and foremost as a project more than anything. The musical results aren’t shocking or even unpredictable, given Manny’s and Nicky’s musical background.

From Behind specialize in Bluesy, heartfelt Hard Rock with its roots firmly in the seventies. Moore, who once replaced the then future superstar Bruce Dickinson in NWOBHM legends Samson, still possesses a respectable set of pipes. Joining Charlton and Moore in the project are Swedish musicians Mikael Fässberg and Fredrik Borg on guitars, Andreas Grufstedt on bass, and Carl Michael Hildesjö on drums. Fässberg and Grufstedt also served as Paul DiAnno’s recent touring musicians, which further ties the Iron Maiden connection. Now how is that for irony?

Moore’s combination of aggressiveness and heart lifts much of this material, which, had it been performed by another less powerful singer, would probably not have had the same impact. As it is, the material is often less than stellar, but at least comes out alive, if at times bland, rather than dull.

Now, there’s no reason to dwell over the band moniker, as it kind of speaks for itself and has no intellectual connotations whatsoever, as is the case of the music on display. Opener “Queen Bitch” sets the tone, with some tasteful guitars and a hard-hitting Bluesy delivery. “Cat Walk” gets into the groove with boogie-filled riffing. The seventies vibe ever present, several Hard Rock bands of said era serve as musical references, such as “What You’re Doing” — reminiscent of Led Zeppelin, with Moore adding some Robert Plant-like vocal strains during the chorus for good measure.

Musically it’s often close to Nazareth’s “meat and potatoes” approach to Rock and Roll. “Crutch” has some of the grandiose feel of classic Nazareth tracks like “Don’t Judas Me” or “This Flight Tonight,” but lacks similar strength. Moore sings about passion in “Picture,” with just that — passion. The song takes a nosedive with a horrendous slide guitar solo before the vocals pick it up again. “Family” starts off with a heavy Sabbath-like main riff and features a powerful shrieking chorus, while having effects during the verses that make the vocals come across nasal in its delivery. “Boneman” talks about inner evils, lasts under three minutes and features just a single guitar to accompany Moore. “Play Dirty” takes the vibe back to Samson, an often truly joyful band in the musical as well as lyrical tongue-in-cheek department. “Gone,” another ballad, features Blackmore-esque slides. “Size Doesn’t Matter” is among the more forgettable tracks, despite its melodies, and “Gone (Reprise),” which follows, serves merely as an outro.

This is not a bad album at all -– it is definitely decent. Yet, therein lies its problem; it never picks up and goes beyond decent. Despite the legendary status of Charlton and Moore, and some good songs, its quality grinds to a halt at decent, with some tracks not being very memorable at all. The three guitars never seem fully realized, but, that said, it certainly is well-played. From Behind, should they continue, could hone their craft, which would possibly mean greater things to come and the band becoming a force to be reckoned with in their field, better serving fans of its genre.