REVIEWS FROM MY VINYL COLLECTION

Day: March 3, 2021

REO SPEEDWAGON – Nine Lives

For me, this was the beginning of the end for the band, because after this they released Hi Infidelity, and any ounce of credibility went out of the window. They just became a Ballad cash cow for the record company, until it all ended, and hello chicken-in-a-basket circuit. If you want to know what REO really sound like, then give this a spin.

Heavy On Your Love kicks off in great style with a killer rockin’ tune complete with monster solo from Gary Richrath, who sadly is no longer with us. Drop It follows, and is a typical mid-west rock song with a big chorus and everything. Only The Strong Survive could have been a Cheap Trick song as it has that power pop feel. Easy Money is a standard rock and roll tune, and to close things out there is a cover of a Chuck Berry classic – Rock & Roll music, which is a decent enough cover but why not an original song? These type of covers should be left for encores only.

Anyhoo, Side 2 kicks in with Take Me, which has a cool funky groove which you do not expect. I Need You Tonight starts with an almost country feel and is the worst song here. Definitely a filler track. Meet Me On The Mountain is a soft rock standard tune with a great chorus. Which brings us to the album closer, Back On The Road Again, and in my opinion is the best track the band recorded. Funnily enough, it’s the only song that Cronin doesn’t sing on. Bruce Hall the bass player does. I’m a sucker for a great riff, even though this is a simple one.

So that’s it, the ninth album with nine tracks and it’s called Nine Lives. Superstitious anyone? Oh and not a ballad in sight!

8/10 from The Grooveman.

THE CULT – Love

What was once Southern Death Cult, and basically an indie goth band, transformed into what has now become a big rock behemoth (with a little stop off at Death Cult in between). This is the second album as The Cult, and the indie stylings and sounds are still evident. This is my favourite period of the band as it’s quite a unique sound. Lots of echo and chorus on the guitar, and lots of echo on the vocals. This was the album that broke them big as the singles, She Sells Sanctuary, and Rain, were big songs.

The two opening tracks, Nirvana, and Big Neon Glitter, have a big goth/pop vibe to them and are two great songs. Love is next, and has a very retro-rock vibe and a killer vocal from Astbury. Brother Wolf Sister Moon is up next, and is a slow haunting song – until the end where it cranks up the volume. However, it is the weakest song so far. Rain is next, and the quality goes up considerably – what a great choice for a single!

Over to Side 2 we go and the big gothic opening of Phoenix – with wah-wah peddle a go-go and a very late 60’s vibe. Great tune! Hollow Man follows, and the trademark echo/chorus picked opening. This could only be The Cult. Revolution is next and is, apart from the chorus, another filler song that could have been left off the album. Probably the best known Cult song, She Sells Sanctuary graces us with its presence next, and is just a great tune. With the picked riff intro, and simplistic beat – plus an ear worm of a chorus – you can’t go wrong. It’s kept them in beer and smokes for a few years that’s for sure. Close out track, Black Angel, is almost Zeppelin at the intro, and frankly speaking, is a bit of a weak ending to the album.

Could they be Bradford’s finest musical export?

8/10 from The Grooveman.