Haydn’s songs, German and English, have never quite had the standing they deserve: two of the English canzonettas and one of the German songs here are not even in the current catalogue. Most often they are sung by sopranos, but there is no reason why a tenor shouldn’t be used; Haydn, a tenor, is known to have sung them himself. The performances here, by all three singers and Roger Vignoles’ alert and thoughtful accompanying perhaps plays a key role take them seriously and show them as the substantial music they are.
Crucial to the creation of this album was Daltrey's meeting with guitarist/songwriter Gerard McMahon, since Rocks In The Head, which credits "Musical Direction and Production" to McMahon, also features him as primary backup musician and writer or co-writer of ten out of the 11 tracks. Daltrey himself is co-credited on seven, a new high for him, but it's hard not to feel that he is acting primarily as McMahon's mouthpiece. McMahon updates Daltrey for the '90s, constructing hard-edged tracks based on harsh electric or acoustic guitar textures, suggesting everyone from The Who to The Police. The result is an album that does nothing to diminish Daltrey's reputation.
With Strange Frontier, Roger Taylor (Queen, The Cross) seemed to try and cast himself as a British version of Bruce Springsteen, writing a set of songs that were similar to the gutsy and anthemic work of the American rock hero. The similarity went as far as the lyrics, many of which focused on working-class politics. Taylor even throws in a Springsteen cover, "Racing in the Street," for good measure. The differences between Taylor's music here and Springsteen's lie both in Taylor's production, which added some artsier ideas such as the symphonic break in "Killing Time," and in his vocals, which stray more into melodramatic territory than Springsteen ever has. For the most part, the concept works. The album is far from original, but Taylor is an accomplished enough songwriter that he doesn't come off like a poor man's Springsteen…