THE GROOVEMAN'S COLLECTION

REVIEWS FROM MY VINYL COLLECTION

Tag: music (Page 355 of 454)

BLUE OYSTER CULT – Secret Treaties

August 23, 2021 /

There are two Blue Oyster Cult’s: before, and after Reaper. Basically, up to and including Agents of Fortune, and everything after that. They have been going in various forms since ’67, when the were called Soft White Underbelly. This is the bands third album released in ’74, and if you have heard the live album On Your Feet Or On Your Knees, 6 of the 8 tracks here are performed and they come over a lot heavier. The were sort of punk in attitude (before punk was a thing), and they were a cross between MC5 and the New York Dolls – which I sort of get.

Dominance And Submission still sounds great today, with that riff, beat, and lyrics – it’s one of my all time favourite BOC tracks. The raw rock and roll of ME 262 – complete with doo wops – and the brilliance of Harvester Of Eyes with that jagged riff, make this one of my most loved BOC records. Plus, you get the killer Astronomy as the close out track.

I got to see them a couple of years back supporting Foghat, and they weren’t that great. They looked as though they wanted to be anywhere but there. At least we still have these great albums to listen to.

9/10 from The Grooveman.

HURRICANE – Slave To The Thrill

August 23, 2021 /

After being a member of Lion for their two awesome albums, Doug Aldrich played on the House Of Lords Sahara album, and then he leant his hat in this, Hurricane’s 3rd and best album. You can see how he gets the reputation of a gun for hire. The amazing Kelly Hansen, who is now a member of Foreigner, is the vocalist, Jay Schellen is on drums, and Tony Cavazo is on bass.

This is not a band that suffered because of the emergence of grunge. I know I say this a lot, but if this album was released four years earlier, then they would have been huge. Great hooks and melodies, big riffs, killer guitar, and a superb vocalist. The band had it all! If you listen to Aldrich’s projects after this (namely Bad Moon Rising and Burning Rain), the formula is the same as this album – he knew the formula was good.

There are some great tracks on this album, the opening track Reign Of Love, Dance Little Sister, Temptation are all cracking songs, but it’s the monster Into The Fire (with its killer riff and hook), and the very Whitesnake-ish, Let It Slide, that top the tree for me. Doug is now a member of The Dead Daisies and still killing it.

9/10 from The Grooveman.

QUIET RIOT – Metal Health

August 21, 2021 /

I was amazed to find out that the band were formed back in ’73 by Randy Rhoads, along with Kevin Dubrow and some lunatic called Kelly Garni (who threatened to kill Dubrow). Metal Health was the third release by the band, and was recorded after the departure of Randy to Ozzy’s band. His replacement, Carlos Cavazo, was in place to record this record, and a great addition to the band he was.

The person who decided to record Slade’s Cum On Feel The Noize, was an absolute genius, as this was the perfect song to highlight Dubrow’s voice – and it’s the ultimate party anthem. Of course it was a huge hit, and the band entered the big leagues because of it. They didn’t have to rely on covers, as the original songs on the album hold up well. Slick Black Cadillac was another hit party anthem as they had the whole sing-a-long chorus thing down to a fine art. There is one duff song on the album though, and that’s Don’t Wanna Let You Go. It’s an average attempt at a ballad which is not that good.

In my opinion Side 2 is the better of the two sides, and opens with the gallop that is Breathless. It’s a decent song with a strong hook and melody, and some tasty playing from Cavazo. Next track, Run For Cover, is the best track on the album and rocks hard. It has plenty of guitar from Cavazo, and some nice double kicks from Frankie Banali. This leads into the Carlos Cavazo showcase that is Battle Axe. Back to party city with Let’s Get Crazy, and this type of song is what they do best, big riffs, big stomping drums, sing-a-long chorus, and an incendiary guitar solo. The last song is Dubrow’s tribute to Randy Rhoads’ Thunderbird.

After this album there was Condition Critical, which was ok, and then it was slowly on the downhill trajectory after that. I still find this a fun record to listen to. Is it going to change the world? Err nope. But is it going to put a smile on your face remembering the fun times? Absolutely!!!

8.5/10 from The Grooveman.

YES – 90125

August 21, 2021 /

This is the 11th album from perennial British proggers, Yes, but it was a great departure in sound for the band. The music on this album was a lot more radio friendly and commercial. The band had split up in ’81 after the tour cycle for the Drama album. After the break up, Chris Squire and Alan White had formed a band called Cinema, and were joined by original Yes keyboard player, Tony Kaye, and guitarist, Trevor Rabin. Much of this material was taken from demos that Rabin had ready. Jon Anderson was asked to rejoin at the mixing stage, and he recorded all of the lead vocals. The result was this masterpiece that basically saved the band and rescued their career.

The new approach was very American sounding and was perfect for US radio. The lead off single, Owner Of A Lonely Heart, was such a success that the album took off on the back of it – the rest they say is history. Of course, traditionalists hated the new sound, saying it was not Yes, but the master stroke from Squire was asking Anderson to join. His voice is so associated with Yes, that the older fans were won over.

It Can Happen is one of the tracks that has the old Yes DNA, with the layered vocal and keyboard part, but enhanced with Rabin’s guitar. Changes, the last track on Side 1, has all the Yes hallmarks in the intro with the intricate instrumental parts, but the melodic chord sequence and melody vocal from Rabin are all what’s great about the new version of the band.

Cinema, which would have been the title track for the original project, opens up Side 2. It’s a great instrumental in that old Yes style. Trevor Horn is the producer and his signatures are all over this record, the compressed drum sounds, the keyboard segues, and multi layered vocals. It’s very of it’s time, but still sounds fantastic.

9/10 from The Grooveman.

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