THE GROOVEMAN'S COLLECTION

REVIEWS FROM MY VINYL COLLECTION

Month: April 2021 (Page 11 of 11)

ISOTOPE – Deep End

April 2, 2021 /

This one is for all fusion fans out there. Founded in the UK in 1972 by guitarist Gary Boyle, this is the band’s third release. Buoyed on by the success of similar British outfits of the time (Coliseum, Brand X and Soft Machine), there were a lot of go’s fusion bands around at the time. I remember seeing the band on The Old Grey Whistle Test and really liking what I was hearing. There was a lot more variety on labels back then as they were willing to take a chance on non-chart specific bands, but bands that were album orientated in there approach. It’s great to hear musicians of this quality just going for it. The playing is exceptional throughout, and with killer production, this is highly recommended record if your that way inclined.

The opening and closing tracks on Side 1 Mr. M’s Picture and Black Sand are wonderful tunes with lots of groove, swing, and superb musicianship. Fonebone is my personal happy track as the funk is alive and well on this piece. If you like to stretch your brain with new musical experiences then you should give this a try.

8/10 from The Grooveman.

STEELER – s/t

April 2, 2021 /

So before Malmsteen was…err…Malmsteen, and before Keel was…well…Keel – there was Steeler. Mike Varney was responsible for bringing Yngwie over to America with a work permit, and getting him to record and write this – the one and only – Steeler record with Ron Keel.

So what does it sound like I hear you ask? Well it sounds like Keel the band with Yngwie on guitar. The songs are typical American cock rock stompers with an over the top guitar player. I’m not surprised this project only lasted the one album, as this was always going to be a clash of the egos. What was left behind was the blueprint for Keel to record his next 3 records, and Yngwie would go on to be the donut eating guitar virtuoso we all know – after his short lived stint in Alcatrazz.

Cold Day In Heel is a kick ass opening tune and rocks accordingly with a typical Yngwie over the top solo. In fact, this is very much the order of proceedings all the way through the album – apart from Hot On Your Heels, which sees Yngwie widdly diddling right from the get go. Although very impressive, it’s all just fast runs and scales at this point. The intro to Abduction, the Side 2 opener, is very much in the direction in which Yngwie would go when he would go solo – very neo classical in style. My favourite track is the last song, Serenade, which, believe it or not, reminds me of Rush – especially the opening section. The song is a slow build tune with the appropriate big rock ending.

I admit to having a soft spot for this record, and I do like it. I know they would go on to bigger things, but it’s fun to see where it all started.

7.5/10 from The Grooveman.

MIND FUNK – s/t

April 1, 2021 /

Mind Funk were considered something of a second division super group at the time, as members Louis Svitek and John Monte were in M.O.D, and Reed St Mark was in Celtic Frost. They came together at the time that the funk metal offshoot was in full swing. This was supposed to be a full time band, but they only released two albums, which is a shame as this is a killer record combining metal/funk and hardcore to make one beautiful noise. Svitek and Coppola make a great twin guitar duo as they trade riffs and leads all over. The album has plenty of groove and riffs to keep most bands going for their entire careers.

Sugar Ain’t So Sweet is a killer opening track with a great riff and vocal. Ride & Drive carries straight on in the same vein – another great tune. Bring It On has a slight grunge influence but is still a great tune. Big House Burning is the stand out track on Side 1, and has an awesome riff and funky bass line with a fast beat. Fire really brings the house down, if you pardon the pun, to end Side 1.

Over we go to Side 2 and Blood Runs Red is a monster tune, with its Van Halen harmonic tapped intro before the funky metal grooves take over – another monster tune stomps all over your brain. Sister Blue is next up and is the most chill track on the album and a really cool tune. Woke Up This Morning is another track with a hint of Seattle about it, well…it was released in ’91. Innocence is the penultimate track and has an absolute killer riff and groove – it is the best track on the album. I love how the the quiet chorus guitar leads into the main riff. Monster tune!!! The album close out Touch You is another huge tune and is as funky as a funky train going all the way to funky town.

9/10 from The Grooveman.

TOKYO BLADE – s/t

April 1, 2021 /

Although part of the NWOBHM, Tokyo Blade were after the initial burst of bands. This album was not released until ’83, by which time Saxon had released 5 albums. This is an original copy on Powerstation Records. This is not a bad album despite a very flat production, but the energy and enthusiasm is there in overload. I also remember seeing them at the time, and they were really good live. It helps in metal circles if you have a good guitar player to feed off, and Andy Boulton was not a bad player. The songs are very of the time, and looking back all these years later, a big smile does appear on my face – it was such a fun time to be around as new bands were appearing every second – some good, some not so.

Anyhoo on to the record. The opening track, Powergame, is a typical NWOBHM metal romp, as is second track Break The Chains. If Heaven Is Hell has a very Maiden feel to the song as I’m sure they were influencing a lot of bands of the time. Side 1 close out track, On Through The Night, is not that great of a tune if I’m honest, and is the weakest song so far.

Over to Side 2 and Killer City could almost be a Maiden outtake – the similarities are striking. Liar is my favorite on the album as it has a nice intro and cool riff – even though the main lyric line sounds like Charlotte The Harlot. Tonight has a very stock riff and sounds as though it was a last minute addition – not a lot of thought went into it that’s for sure. The final track, Sunrise In Tokyo, starts with the NWOBHM riff, a riff that all the bands of the time used, and some still try to get away with using it today (Tygers Of Pan Tang).

Unfortunately, they never had the tunes to match the enthusiasm. They have split up and reformed numerous times, but if you were not good enough the first time around, then things ain’t gonna change much.

6.5/10 from The Grooveman.

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