REVIEWS FROM MY VINYL COLLECTION

Category: Vinyl Reviews (Page 460 of 492)

IT BITES – Eat Me In St Louis

It Bites: the band that Virgin didn’t have a clue how to market. The main problem was that the first single that was released (Calling All The Heroes) was a smash hit nearly all over the world, but was not representative of the band’s music as a whole. They saw themselves as more of a progressive band, but the label wanted a pop band.

This was the 3rd and last album from the original line up, and was produced by one time Queen producer, Mack – it sounds fantastic. He captured exactly what the band was about. A bit late as inner band squabbles, drugs, general record company apathy, and most importantly, Francis leaving to go solo, would basically end this period of the band. Who knew a band as good as this would be hiding away in a small town in Cumbria? The main creative force and the main focus of the band’s arguments was frontman/guitarist Francis Dunnery, and keyboardist John Beck.

Positively Animal starts things off with a heavier sound than on previous efforts, and is a fantastic opener with a great vocal from Francis. Next up is Underneath Your Pillow, a trademark It Bites song – heavy on the melody and great vocal harmonies. One of my favourite It Bites tracks is next with Let Us All Go. A great riff, some great key changes, a superb melody and chorus, and killer harmonies. Next is the absolute monster, Still Too Young To Remember. The one track that screams Prog. A bonafide classic track which just builds and builds and is It Bites to the max. Side 1 closes with Murder of The Planet Earth – reminding us how bad we as humans treat the thing that keeps us alive.

Over to Side 2 we go and it starts with People Of America, which is a song that sounds as though it was recorded in ’89 with its pseudo electronic beginning. Sister Sarah is next and should have been a smash single – if only the record company cared about the band at this point. A great song with a rockin’ up tempo groove. Leaving Without You is the penultimate track and showcases the range and feel in Francis’ voice. Another really huge sounding song thanks again to the great production. Ice Melts Into Water closes the album out, and is a beautiful chill song with some great guitar and again with those harmonies.

The band still exists today and have released a couple of really good albums with John Mitchell replacing Francis. He does an admirable job, but Francis was such a strong character both sonically and visually within the band that maybe they should have changed the name. Anyhoo, a great album and would be a welcome addition to your collection.

9/10 from The Grooveman.

GOJIRA – Magma

Heavier than a heavy thing on a heavy train to heavy town. This album is supreme heaviness wrapped in a blanket of awesome. This is the sixth album from the French tech metallers. They appeared roundabout the same time the djent offshoot was taking root and they were lumped in with those bands, but there is way more going on here.

The first track, The Shooting Star, is quite a left turn for the band as its very Sabbath sounding both in vibe and feel, and with a clean vocal. Second track, Silvera, starts off in familiar territory – with supreme heaviness before the melody interjects to add clout to proceedings. The Cell proceeds to melt your face off with some epic double kicks and monster heaviness, before down-tuned grooviness ensues. Stranded starts with big chugga’s and swell pedal weirdness and is the heaviest track yet. Side closer, Yellow Stone, is just a small bass instrumental to fade out.

Over the flip we go and the title track, Magma, bursts forth and is a mixture of fat heaviness and psychedelic vocals and vibes. Pray follows with some epic thunderous beats with rhythmic chugga’s, and monk like chanting before supreme heaviness takes over. Only Pain proceeds to pound my brain into submission with epic drumming from Mario Duplantier. Low Lands starts with some fantastic off-groove drumming, before the almost Pink Floyd-esque vocals start – a great mix of heavy and hippy. Last track, Liberation, is another weird instrumental piece.

If they had put the two small side closing pieces together, and added another song, this would have been a 10 album. A great album by a great band. In the somewhat tired genre of metal, they are a shining light.

9/10 from The Grooveman.

STEVIE RAY VAUGHAN – Couldn’t Stand The Weather

Along with Bowie’s Let’s Dance, and the release of the Live At The El Mocambo, this was the album that launched Stevie into the cosmos. We had heard murmurings in the music press about this hot shot guitar player from Texas, but nothing could prepare us for the sheer power of Stevie’s playing. Sure he had all the Hendrix licks and moves down to a tee, but his style was all his own. Listen to the almost chicken pickin’ workout of Scuttle Buttin’ to see what a great style he had. The first time I heard Stevie was on the Let’s Dance video and I was blown away. There is something about a three piece that you just can’t beat. It’s all you need: guitar, bass, drums and vocals – that’s as pure as it gets. When Stevie changed the format himself by bringing in keys and horns, it was never the same.

Other than live performances, this album was as good as it got for me. This album is a mix of originals and covers dear to Stevie. The second track, the title song from the album, is a self penned tune and has the Hendrix blues mix that would be his trademark – a great song it is. The first cover is The Things I Used To Do, a blues standard written by Eddie Jones, which shows what command SRV had over his tone and sound. Hendrix’s Voodoo Chile closes out Side 1 and would become a showcase in the set whenever it was played live. Stevie doesn’t mimic Jimi, he makes it his own.

Side 2 opens with the Doyle Bramhall written Cold Shot, which is an awesome tune and was released as a single. The Jimmy Reed classic Tin Pan Alley is next – Reed was a big influence for Stevie. The album ends with two original: Honey Bee, a classic shuffle, and Stangs Swang a triad jazz piece that shows Stevie’s versatility as a player. No one trick pony here.

This is another in the series of everyone should own one.

9/10 from The Grooveman.

PAT TRAVERS – s/t

Not long after leaving Canada and moving to London, Travers secured a contract with Polydor records, and this was the first album of that contract. A mixture of originals and covers, it a good solid album that showcases Pat’s great playing skills. I managed to catch him on this tour to promote the album in a small club in my hometown. That’s where Pat has to be seen, the live performance was always killer expanding the songs from the albums.

Opening track, Stop An Smile, is a song that was written back in Canada and fleshed out here. A solid opening track with some tasty playing. The same can be said of second track, Feelin’ Right, another good tune with great vocal from Pat. The first of the covers is next, Magnolia by JJ Cale, and it slows things right down. You forget what a soulful voice Pat has. Side 1 closes with a Travers classic that he still plays today, Makes No Difference. A great tune with a couple of well placed groove and key changes to take it up a notch – plus a nice solo.

Side 2 starts with another cover and crowd sing-a-long favourite, Boom Boom Out Go The Lights. Another cover next with the Chuck Berry classic, Mabelline, and the final cover, Hot Rod Lincoln, which is just a novelty piece. The final two tracks are originals. As My Life Flies, a fairly standard song with some nice key changes to keep it interesting, and Medley Parts 1 and 2. A nice way to end the album, with an instrumental opening for Part 1 that changes into a funky groove for the second half, and then back to a killer instrumental section before the song ends.

Not a bad first attempt, and the second album would be a monster record.

7.5/10 from The Grooveman.

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