THE GROOVEMAN'S COLLECTION

REVIEWS FROM MY VINYL COLLECTION

Month: September 2023 (Page 5 of 11)

HELLANBACH – The Big H: The Hellanbach Anthology

September 21, 2023 /

Now, I have already reviewed the only two albums the band had recorded that this anthology contains. It is of worth however, if you are struggling to find the original two albums and if you missed out on the band’s first EP Out In The Wild, which I think appeared on a label called Guardian and is also included here.

The Now Hear This record sounded raw, but the EP sounds like it was recorded in someone’s garage. The drum sound is awful, but you can’t deny the energy and power from the band as Davey Patton’s guitar and Jimmy Brash’s vocals sound great. I think Kev Charlton and Davey are still playing in bands around Newcastle, but it’s these songs here that remind you that with a little bit of luck they should have and could have been huge.

8.5/10 from The Grooveman.

OZRIC TENTACLES – Pungent Effulgent

September 21, 2023 /

This is classed as the debut album by the band, even though they had released five previous efforts on cassette only. This version is the 2020 Ed Wynne remaster.

As usual with most of the early Ozric, the songs feel like extended jams and opener Dissolution is no exception. Lots of cool guitar from Mr. Wynne played over the top of some seriously spacey grooves and movie scape keyboards. They really make Hawkwind look dated. O-I follows and feels as though there is an actual structure to the piece, with lots of world music influences interspersed and some beautiful guitar from Ed. It’s a bit like early Santana on speed. Phalarn Dawn is way more chill, and you get visions of Nepal with the drums. The Domes Of G’Bal ends Side 1 and the spacey keys open up to a reggae infused trippy groove.

The centrepiece of the whole record the is the nearly 11 minutes of Ayurvedic. If you think of seventies Prog then this could be the soundtrack to the whole movement. My favourite tune is up next with Kick Muck. Awesome phased riff from Ed, with a trippy rave groove underneath. As with most early Ozric releases, you get a little taste of the weird. And last track Agog In The Ether is just that.

A cool look back into the early years of a very influential band.

7.5/10 from The Grooveman.

COLD SWEAT – Break Out

September 20, 2023 /

After Marc Ferrari left Keel he formed Cold Sweat in ’88, taking the name from the Thin Lizzy song with the same name. Due to a ton of mishaps and poaching of members, this is the band’s debut. It did not appear until ’90, a full two years after they formed, by which time the musical landscape had changed.

Produced by Kevin Beamish who has given the album a crystal clear production, but maybe could have given it a bit more balls. If this had been ’84 things may have been a whole lot different, as the songs are really good and well written. Highlights for me are Crying Shame, which is pure hair rock heaven with a huge hook and chorus; Killing Floor with its old school 70’s riff; and my favourite tune Fistful Of Money. The riff is very old school blues with a hint of funk. The hook and chorus are huge and that middle section is super cool.

The album is just missing that one big tune to set it on fire, but it’s still a very enjoyable record.

8/10 from The Grooveman.

STUCK MOJO – Declaration Of A Headhunter

September 20, 2023 /

This is the Atlanta-based groove rap metallers fourth studio album, and the last before the acrimonious split in 2000 when egos started to rip the band apart. Such a shame, this was the best thing they ever did. It’s worth buying for the riffs and guitar sound alone. The production by Andy Sneap is huge and pounding, and is a lesson in how to produce a metal album. It’s a sound that Ward has tried to reproduce on all other efforts he has put out since.

There is always a hint of melody in nearly all the songs here, which add to the dynamics greatly. Set The Tone blows the album into life. It’s a monster groove and riff. More of the same with Raise The Deadman, and the hook is huge with the melody I mentioned. Drawing Blood has a killer grooving riff, and the middle section is superb. It’s favourite track time next, after a short political groove based statement aimed at Rev. Jesse Jackson. Give War A Chance has the kind of riff and groove that any self respecting metal band would die for, coming after such an angelic start. The groove comes down large with Side 1 close out track Feel It Comin’ Down where the groove and the crunch zinc together perfectly.

Side 2 opens up with The One, and this is about as commercial as their albums get, and that’s only in the main verse as the crunch and devil vocal is never far away. Evilution is up next and the pounding continues, this time it’s the hook and chorus that drag you in. Ward’s political affiliations are represented again in Declaration with a short spoken word over a hip hop base track. An instrumental piece called The Ward Is My Shepherd follows, and this is the weakest piece on the album. I think you can tell whose ego was out of control here as Mojo was about Bonz’s lyrics and delivery as much as the riffs and grooves.

Walk The Line sees normal service resumed with a great riff and groove in the main verse with added evil riff in the chorus. Hate Breed with its stomping riffs and groove has a great swing . The album closes out with Reborn; a bonus track. The vibe doesn’t quite fit the rest of the record. The strings and the chorus are quite radio friendly, but the tune feels out of place.

Yes, the band have released further albums with different front men, but they have never quite captured the intensity of this record.

9/10 from The Grooveman.

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