REVIEWS FROM MY VINYL COLLECTION

Tag: music review (Page 468 of 493)

URIAH HEEP – The Magicians Birthday

Another one of my school day’s discoveries. This was actually released in 1972, although it would be two years later until it found its way into my universe. Thanks to Barry Leaf, wherever you may be, for introducing me to them. They were considered on par with Deep Purple at the time as the similarities were there for all to see. A Hammond Organ, a great guitar player, and an amazing vocalist. Put all that together, and add in an amazing Roger Dean cover, and 14 year old me was in awe.

What a way to open an album, with the classic Sunrise. Amazing vocals from Dave Byron, and great Hammond playing from Ken Hensley, and those harmonies…just perfect. More standard fare next with Spider Woman, a straight up rock song with a cool descending section. The Hensley penned Blind Eye is next with a great dual guitar melody to open the song and a great melody and hook. They sure knew how to write great songs. Echoes In The Dark has quite an epic beginning, and coupled with another amazing vocal from Byron, the song builds to an epic ending. Rain closes out Side 1, and starts with just piano and vocal, a beautiful piece with an almost gospel feel.

Over to Side 2 we go and two stone cold Heep classics are waiting for your pleasure. The first of which is opener Sweet Lorraine, with the weird keyboard intro and a hook and melody that stick in your head before we head to a great instrumental section. Tales is next and is another Hensley penned slow build tune with great harmonies. On to the second classic and close out tune, the title track, The Magicians Birthday. This was always the center piece of the live show as it had so many sections to it, an absolute monster of a middle section, which culminated in a monster solo from Mick Box. Lyrically it was totally in Prog rock territory with wizards and fantasy. They never quite reached the heights of this album with subsequent releases as for this line up, tragedy would strike, with the death of bassist Gary Thain and later vocalist Dave Byron, both from substance abuse.

If you don’t have any Uriah Heep in your life, this would be a good place to start.

9/10 from The Grooveman.

BLACK SABBATH – Technical Ecstasy

This is Sabbath’s 7th studio album, and thought of amongst fans as the weakest release of the original line up. Maybe because the songs are quite happy sounding and not the trademark heavy doom sounds of previous efforts, or that they were all out of their minds on all sorts of chemical substances and the focus wasn’t there. I actually bought this on the day of release and remember being stoked for a new Sabbath album. So it’s with this in mind that I review this over 40 years later, and I can admit, it’s not as good as I remember it.

The first two tracks are quite good with Ozzy’s trademark howling vocal sounds as strong as ever, and the riff to You Won’t Change Me is very doomy and what I would expect Sabbath to do. Third track in, Its Alright, has Bill Ward on vocals and is most definitely not Sabbath material – it’s a poor song and just doesn’t fit. Last track on Side 2, Gypsy, starts with a drum riff that steals straight from Cozy Powell and is another average song.

Over to Side 2 and All Moving Parts Stand Still is an ok song, but far from a classic. Rock n Roll Doctor is next and it’s just meh! She’s Gone, a ballad and another track that is just ok – it won’t set the world on fire that’s for sure. Album closer Dirty Women, and as the title suggests, not the deepest song in the world. It must of took Ozzy all of 10 secs to come up with the lyrics.

Musically, it’s not that bad and has a nice middle section. It’s the closest musically to what you would expect Sabbath to release. The album was produced by Tony Iommi, and you have to wonder what he was aiming for.

6/10 from The Grooveman.

ERIC GALES – The Bookends

Is this the world’s best kept secret? For those who have not heard of Eric Gales, this is his 18th studio album. Signed by Electra in ’91 as a guitar prodigy, you’d be forgiven for thinking that he had disappeared between the cracks. The last couple of albums has seen his popularity rise, and rightly so, as he deserves everything coming his way.

This album kicks off with Intro, an absolute monster of a short instrumental piece that sets the tone for the record with its funky grooves. First song is Somethings Gotta Give, featuring the soulful vocals of B. Slide, which gives the song a great commercial vibe. Funky nirvana is next with Whatcha Gonna Do with a serious funky vibe with some killer playing by Eric. The funk continues with It Just Beez That Way that almost goes to fusion territory.

By now you should all be groovin’ around which ever space you listen to these funky vibes. You just don’t here records like this anymore. Killer!!!!

Side 1 closes out with Southpaw Serenade, a slow blues groove that features Doyle Bramhall II on a guest solo. A great soulful tune. Over to Side 2 we go with How Do I Get You, which has a great hook and would make a great single. Reaching For Change starts with a fat blues rock riff that reminds me of Kings X – plus a ripping solo is supplied by Eric. Somebody Lied is next up with its off-time groove. The Beatles classic With A Little Help From My Friends is next, which features the amazing Beth Hart on vocals. Which takes us to the close out track, Resolution, an instrumental track with a slight difference – it’s not all widdly-widdly but played with soul and invention, and like the first track, has plenty of use of the swell peddle.

And there you have it! The album bookended by two non-vocal tracks. Do your self, and your collection a favour, and bring some Eric Gales into your life. If by chance he plays near you, go and see him live, you won’t be disappointed.

9/10 from The Grooveman.

TONY MACALPINE – Maximum Security

This is the 2nd out of the 13 solo studio albums that Tony has released – plus he is on countless projects and guests on squillions of things. This was released in ’87 when the guitar shred fest was in full swing, and this album definitely falls into that category. I would put him along side Malmsteen in style, although I think Tony has a lot more melody to his playing. Tony plays all guitars, bass, and keyboards except where George Lynch guests on a couple of tunes for the obligatory guitar battle.

This is above average fair for the shredder community, as the attention to melody and structure is evident throughout. There are vocal lines, but played on guitar, that give the workouts a purpose – a bit like Satriani does. There are a few references to classical pieces (Chopin is credited on two pieces), but they all were doing that back in the day for a bit of credibility. The aforementioned Tears Of Sahara with George Lynch is my favourite track as they try to outdo each other with who has the best licks.

This is for guitar slingers and aficionados only, and anyone else who has a passing interest for over the top guitar.

8/10 from The Grooveman.

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