The Poodles - Prisma

The Poodles Prisma cover
The Poodles
Gain Music Entertainment
I must admit that I did like the first three Poodles albums quite a bit, but whatever they did since those has been rather underwhelming. “Prism” that arrives after their least successful album, 2015’s “Devil in the Details”, is of all things a covers album, a move that can be perceived as both calculated and safe, but also boring. Mystic Prophecy just did the same in what seems like an attempt to have a product and be able to tour without having to put in the effort for a proper album.
So pop goodness gets a jolt of electricity with varying degrees of success. “Crazy Horses” originally by The Osmonds is an old pop standard from the 70s that The Poodles do OK at, but not seem to be able to capture as well as say, Alex Harvey did or even NWOBHM band Egypt, who both have done far superior versions of this.
The work they do on Michael Sembello’s “Maniac” is unfortunately rather underwhelming. “Maniac” is a song that was originally going to be a thriller and ended up being re-written to get used in a dance movie, originally and rocking it up could be good, but most people that tend to cover it, usually tend to mangle up the chorus – unable to copy the urgency of the chorus. So do the Poodles, with this very polished and lush take on the song that sparkles but doesn’t shine.
“Love is Gone”, by David Guetta, has a strong “beat” element and is at least better than the previous too attempts to the point I am guessing that it must be one of the better choices for a single from this collection.
“It’s No Good”, by Depeche Mode, is a daring choice, since it’s not their biggest and most recognizable hit (ie “Enjoy the Silence”). The Poodles choose to maintain the atmosphere of the original to a large degree, whereas I feel that a more explosive chorus would have largely benefited the song, making it more of a cover and less than a playthrough in the style of...
Swedish House Mafia’s anthemic “Don’t You Worry Child” is the fourth in a line of “dance” tunes that the band does – and they are able to “translate it” capably enough because of its anthem-like style, although it feels a bit like The Poodles of the latter three albums, showing their teeth, but never biting down.
“Goodbye Yellow Brick Road”, by Elton John, allows Jakob Samuel to channel all of his balladry and smoothness into it, in a neat cover of this prog-pop-rock ditto. A flashier tune, like “I am Still Standing”, that coincidentally Mystic Prophecy did (rather well too), might have been a bit nicer but this ain’t bad by any means.
Samuels manages to give a pretty convincing performance on “Call Me”, originally by Blondie. With the original being pretty epic and rocking – it’s a pretty direct and faithful and cool cover, the short leads and super smooth falsetto section are pretty interesting too!
Expectedly them cannines are able to offer a very nice take when they tackle Fleetwood Mac’s “Go Your Own Way”, which flows almost naturally, almost as if it was an original by the band.
“Set Fire to the Rain”, by Adele, is not bad, but I think it might work best with her timbre, as it loses a fair bit of its dramatic nature in this rendition that just sounds rather tame, by comparison.
A string heavy take on “Soldier of Fortune”, by Deep Purple, is offered as a bonus and despite Jacob’s voice being “thinner” he manages to instill enough emotion to not maul this classic, although the original is probably impossible to top. The somewhat celtic flavored instrumentation is an interesting touch that nicely deviates from the original, giving a different but yet familiar slant to this beloved tune.
Overall, very hit and miss and I’d much rather had the better covers as bonuses on a new album… The Poodles, should better really weed through the material for their next album, cause it will have to be rather good to keep them truly relative.