REVIEWS FROM MY VINYL COLLECTION

Month: June 2021 (Page 7 of 9)

JETHRO TULL – Aqualung

There aren’t that many albums throughout the history of rock music that reach iconic status, but this album, Aqualung, which was Tull’s fourth release from ’71, is definitely in that category. This album is 50 years old this year, and this is the Steven Wilson remix from 2011. I actually played the original mix before putting this on, just to get the feel of the new one to hear the differences. This version is a lot brighter, and you can hear instruments more clearly as have been brought into the centre of the stereo spectrum.

This is the band’s best selling album and the one everyone associates the band with more than any other. It’s a concept album with the central theme of the distinction between religion and god. Heavy stuff aye? You wouldn’t think so listening to the music as it’s a very uplifting album. From the opening lines “Sitting on a park bench eying little girls with bad intent”, to the rocking awesomeness of Locomotive Breath, and all points in between, this is a Prog masterpiece. The band are at the height of their powers, and Anderson’s ability to weave tales with that distinctive voice and mad flute playing, is a pure joy.

I never tire of listening to this record as the mix of Prog, folk and rock hits the spot every time. Locomotives Breath is still one of my favourite tunes some 50 years later – I guess a good tune will always be a good tune. Crooks Eyed Mary is another favourite, and for an album this old it sounds, its surprisingly fresh. It’s another in the category of every home should have one.

10/10 from The Grooveman.

FIGHT – War Of Words

It’s hard to believe there ever was a Judas Priest without Rob Halford, but that’s what happened in the early nineties, when Rob left Priest to form a more metal version, Fight. He was joined by his fellow Priest buddy and drummer, Scott Travis, and Russ Parish on guitar – before he became a parody and joined Steel Panther. Priest had been touring with Pantera and Rob saw what they were doing – he thought Priest should be going in that direction also. I guess the rest of the band didn’t think that way, and so it was goodbye Rob.

Ironically, the first two tracks Into The Pit, and Nailed To The Gun are probably what Priest would have sounded like if they had gone in this direction. Life In Black is a modern Sabbath type tune, with a slow plod riff and great guitar from Parish. Also of note is Rob’s voice – he still has the power to pull off the high stuff, which he does struggle with today. Next up is the very Pantera/Preist-esque, Immortal Sin. Huge fat chugga riff with that bounce off the walls groove. I have to say, Russ Parish is wasted in Steel Pantsoff, he is great player and metal is his calling. The title track is next and it’s more of the same with a hardcore edge. The middle eight has a great groove to change up the pace. Last track on Side 1 is Laid To Rest and sees Rob with a more restrained vocal and quite a doomy vibe.

Side 2 begins with For All Eternity, a classic old school metal track. Starts off really slow with the picked chords and into the big chorus. Funnily enough a format Priest almost invented. Little Crazy is next up, and for a split second I thought we were in Southern rock territory with that slide beginning. It’s probably the weakest track on the album, not a bad track, just not as good as the others. Contortion follows and again the big fat chugga riff that’s designed to make the listener bounce – it achieves what it sets out to do. Kill It is the most nu-metal sounding track on the whole album with the repeated riff and tag line. Vicious is next and is very metal in the groove and riff, but not that great in the lyrics department. Last track Reality, A New Beginning was a hidden track on the CD, but obviously vinyl won’t let that happen. A big monster d-tuned riff drives the tune, along with Rob telling everyone it’s a new beginning.

I really like this project and thought it was very entertaining. Ultimately, it only lasted two albums, then Halford The Metal God was invented and the Halford solo career took flight, before the inevitable reunion with Priest when they all needed cash.

8.5/10 from The Grooveman.

SUPERTRAMP – Crisis? What Crisis?

This was the first Supertramp album I bought way back in the mists of time while I was at school. My interest had been aroused by Dreamer. Supertramp are an unusual band as they write great pop songs that they hide, or strategically placed, in extended musical workouts verging on prog with complex arrangements. This is why I love them. It’s not necessarily the catchy chorus and harmonies, but it’s the instrumentation and the way they add really groovy pieces in each tune.

Opener, Easy Does It, is a really short peace that leads into Sister Moonshine. This emphasizes the point I was making perfectly, super catchy chorus, great melody and great groove. Ain’t Nobody But Me kicks in with the big Hammond and guitar – it feels really heavy, then we change to the doo wop chorus and the very heavy outro. Next up is A Soapbox Opera, the very familiar fender piano and Hodgson’s voice complete with orchestra. Side 1 closes with Another Mans Woman, a great up-tempo tune with a killer melody and a fantastic instrumental section that really grooves – this is what I love most about the band.

Side 2 starts with Lady and that Fender piano from Dreamer feels so familiar, as with a lot of Hodgson’s songs, there is that old rock and roll reference with the ooh-lalala’s. Poor Boy follows and has that simple, almost Motown, feel to it until the middle section that is all ragtime jazz. Just A Normal Day is up next and has a very singer songwriter vibe – it’s very Elton in its execution. One of the band’s most well known tunes follows with The Meaning. It begins with a very middle eastern feel with Hodgson’s wailing vocal style, before the song settles into a more familiar groove with the repetitive singing which feels like a mantra. Two Of Us closes out the record and it feels quite a melancholic musical ending, and the lyrics are quite uplifting. A great album by a band that took Prog to the masses and made a boat load of cash.

9/10 from The Grooveman.

BLUE MURDER – s/t

After being unceremoniously removed from Whitesnake after the completion of the recording of mega selling album 1987, John Sykes was out to prove a point. Depending on what story you believe, Sykes was after more credit and money for his contribution to the songs on 1987. Coverdale, being the ego maniac that he is, refused saying it was his band so take it or leave it. He had a history of dumping on guitar players that wrote and made him famous. Bernie Marsden anyone?

Going down the route of the classic three piece line up, this band were ready to roll with Tony Franklin on bass and Carmine Appice on drums. Opening with the track, Riot, it’s clear from the start that Sykes was going all out. If anyone was in any doubt who was the main protagonist in Whitesnake for the 1987 album, it was out there for all to hear. Next up is Sex Child, now the music is really freaking awesome, but the lyrics are so cringeworthy – I’m not sure they would have got away with a that today. The first epic of the album, Valley Of The Kings, follows and is melodic hard rock heaven. Very Zeppelin in its execution, but way louder and heavier. There’s a great riff and Sykes shows us he has a great voice as well as killer chops. Last track on Side 1 is Jelly Roll, and for me this is one of the highlights of the album. It has a blues vibe and a very odd take on a shuffle at the intro, with acoustic guitars, kick drum, plus hand claps – then the groove kicks in and away we go. The song slows right down for the big finish with a absolute monster of a solo.

Over to Side 2 and the title track, Blue Murder. If it was me I would have had this track opening the album. The groove is not a standard rock groove as it has a lot more swing and bounce – until the chorus when it really moves. A great middle eight with Sykes giving us all the moves. Out Of Love follows and it’s the dreaded ballad. Other than the solo (which is epic) it’s errr…well, a ballad. My other favourite track on the album is Billy, and again not the standard intro. Phased guitar and rimshots lead into a great riff with a killer vocal and melody – possibly the best solo on the record. A return to Egypt is next with Ptolemy, the other epic track on the album. A huge beginning with drums and guitars a wailing with the heaviest riff on the record – this is as close to metal the album gets and its a killer tune. It’s last track time with Black Hearted Woman, and it sounds like an unused Whitesnake riff from 1987 – or even a Dio tune – but I guess not, as it’s one of only two songs that was a full band effort.

So what did we learn from this? Well, Sykes can sure write a tune, Sykes can play some serious guitar, Sykes has a great voice, and Sykes is supported by one hell of a rhythm section. So why weren’t this band huge? That, my friends, is the million dollar question!

9/10 from The Grooveman.

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