Harem Scarem
Mood Swing

There are bands that had the misfortune of being born in the wrong historical moment and were unable to ride the favorable wave reserved, instead, for perhaps less skilled but much luckier colleagues. In the realm of melodic hard rock, one example is the Canadian band Harem Scarem: debuting in the early '90s, right in the middle of the grunge era, although they received significant critical acclaim, they could never grab the attention reserved for the likes of Bon Jovi, Def Leppard, and Journey, nor achieve that public approval too busy seeking out the new trends of the moment. The fact that the band has survived the passing phenomena and still manages to produce excellent work today leaves a bit of a bitter taste: if they had started in the mid-'80s, we’d be talking about the greatest melodic hard rock band of all time!

Singer Harry Hess and the talented guitarist Pete Lasperance (nicknamed the Lennon/Mc Cartney of AOR) are the minds behind this extraordinary melody factory that, after the splendid self-titled debut in 1991, repeated the success two years later with this Mood Swing, unanimously considered their masterpiece.
The band manages to create a personal sound, made of great guitar riffs, but without the pomp created by keyboards and the softening typical of many bands of the genre. Just listen to the opener Saviour Never Cry to realize that the four guys (joined by drummer Darren Smith and bassist Mike Gionet) mean business and alongside a remarkable sonic impact they manage to craft memorable refrains. Lasperance, although not an extreme shredder, manages to place the right notes in the right place and deliver absolutely spectacular solos, the rhythm section is powerful and precise, and accompanying Hess are choruses reminiscent of Def Leppard, especially in the subsequent No Justice and Stranger Than Love.
With the track Change Comes Around, the Canadians create a masterpiece: a solid riff introduces a menacing vocal line, but when the chorus kicks in, we're faced with one of the most beautiful refrains ever heard, with a chilling central solo by Lasperance. Lasperance is again the protagonist in the following Jealousy, dictating a blues over which, inevitably, 100% crystalline AOR is printed. In Sentimental Boulevard, Def Leppard reappear, but without being accused of plagiarism, heaven forbid, while again glory for Lasperance with the excellent and short instrumental Mandy. In Empty Promises the band seals the incredible ability to combine power and melody, while If There Was A Time gives us yet more moments of high adult rock that 90% of other bands wouldn’t be able to create in 100 years of career.
Just Like I Planned is an a cappella track, where the band highlights their vocal qualities without the need for instrumentation. Head Enough starts with a Lasperance virtuosity worthy of the best guitar heroes and continues with an irresistible hard drive and the usual anthem sung at the top of one's voice.

We are faced with one of the greatest expressions of the genre, it's hard to find a more complete work than Mood Swing, and even Harem Scarem themselves, despite producing other spectacular work, couldn’t succeed in creating anything better.
The masterpiece of one of the greatest AOR bands of all time.