THE GROOVEMAN'S COLLECTION

REVIEWS FROM MY VINYL COLLECTION

Tag: music review (Page 417 of 487)

SUPERTRAMP – Crisis? What Crisis?

June 4, 2021 /

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

June 4, 2021 /

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.

SIGNAL RED – Under The Radar

June 3, 2021 /

Another band I was unaware of until I checked out Escape Music’s website looking for new things to listen to. Before we start, I have to give a big thumbs up to Escape Music as the vinyl I have of theirs is fantastic. Superb pressings and quality covers. There are other European labels that could take note of this. Frontiers are pretty bad when it comes to quality control. The last three albums I have bought from them have been terrible – very noisy records that should never have gone out. Anyway enough of that! So what do we know of these guys? Well, they are a relatively new band from the UK comprising of Lee Small ex Shy on vocals, Steve Grocott ex Ten on guitars, keys and a rhythm section of Brian Anthony on bass, and David Anthony on drums. What we have here is very well played and written melodic/power metal.

Opening track, Defiant, is a freaking awesome opening track with a fast driving groove with a killer riff. Add to that a great vocal with a massive hook and harmonies, with the cherry-on-the-top of a monster solo, and we have a winner! Houdini is next up and the pedal is still to the metal – the quality continues. These guys are GOOD! The production is top notch, it’s very clear and the separation is perfect. The bass and drums sound huge – I don’t remember Lee Small being this amazing, but I guess I wasn’t paying attention before. Stronger is next up and it’s fat huge riff time, and the most commercial sounding track so far. It has huge vocal with a big chorus and harmonies, and another killer solo from Steve Grocott – who gets to cut loose here more here than in Ten. Great song! The last track on Side 1 is Tell It To The Bees, and think late eighties American radio rock and you are somewhere close.

Over to Side 2 with Monster Truck – another killer tune. Huge chorus and harmonies, big keyboard, and guitar joint riff – kind of reminds me of Night Ranger in their rockier moments. Pyramids Of Mars follows and what a killer intro, it really sets the mood for the song. This is a very melodic Euro metal track with lots of guitar and epic vocals. Emotions In Motion is next up, and I guess it had to happen…we are now entering ballad central. As far as ballads go, it’s very well done and carried well by Lee’s vocal. Last track on Side 2 is Highwire and we are back to big riff city with a huge driving rhythm. These guys must have hooks and melodies oozing from their pores. Another great tune.

Over to Side 3 we go with Contact. We are carrying on where we left off, a chop chugga riff, big keyboards, huge vocals and melodies – it’s like déjà vu. Goth The Girl is next up and I think it’s about Mina from Dracula. It’s a good song, but it doesn’t register with me as much as the others. Final track, The Time Machine, is the longest track on the album at 1 second shy of 8 minutes and is the centre piece of the record. A huge epic piece and is worth the entrance fee alone. More of everything that we’ve already had but 10 times more.

There is a Side 4 but it has the dreaded etched side, and we all know how I love them! Well recommended for lovers of this type of music, and if you’re not, then why not give a go? It’s a great record.

9/10 from The Grooveman.

BLACK SABBATH – Born Again

June 3, 2021 /

After being as low as a band could go, after the sacking of Ozzie, and being in the grip of chemical abuse, the band managed to resurrect their careers thanks to Ronnie James Dio. Now, when Dio left to pursue his solo career, everyone was wondering where the band would go from here. Well to some, the appointment of Ian Gillan was a bit of an odd choice as the style and vibe did not match. I thought it was a great choice and was eager to see how it would work.

Opening track, Trashed, was what I thought it would be, a cross between Deep Purple and Sabbath and a nod to the direction they were going in with Dio. After the weird instrumental piece, Stonehenge, Disturbing The Priest sounds dark and very Sabbath of old musically, but the vocals with all of Gillan’s trademark screams sounds anything but Sabbath. I think this is where Sabbath fans of old felt Gillan was not right for the band. After another weird bass instrumental piece, we have this line up’s finest moment in Zero The Hero. A very dark doomy intro, and that beast of a riff, make this one of Sabbath’s finest tracks.

Side 2 kicks off with Digital Bitch with a very NWOBHM style riff – it reminds me of a Gillan solo track complete with suspect lyrics. The title track, Born Again, is next and most bands would call this a power ballad, and that’s just what it is – even if the lyrics are dark and weird. What the hell does “the grey and plastic retards all floating in circles” mean? Never been a fan of Iommi’s solo style, but the solo at the end of this track is nice. Hot Line is next up and a very Blackmore style riff – basically a straight up rock song and it’s quite a commercial tune. Final track, Keep It Warm, has a slow plod riff and groove, and not the finest lyrics ever written, but it’s and ok tune.

Ultimately, we all know this did not work out, and quite a few years in the wilderness were to come before the inevitable reunion with Ozbert Of Oz. It’s an ok album that was lifted by Zero The Hero.

7.5/10 from The Grooveman.

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