THE GROOVEMAN'S COLLECTION

REVIEWS FROM MY VINYL COLLECTION

Tag: music (Page 377 of 454)

BLACKFOOT – Tomcattin’

July 1, 2021 /

I’ll admit to having a huge admiration for Mr. Ricky Rattlesnake Medlocke, this guy has lived it, breathed it, and walked it all at the same time. In early ’71, before Lynyrd Skynyrd recorded their first classic album, he was a member of the band when they did demos at Muscle Shoals. We all know he would rejoin the band at a much later date – he also had a lung removed! Ladies and gentleman this guy has lived.

Blackfoot were actually a band in ’72 and the name was chosen as three of the band are Native Americans. This album is actually the fourth album, and the first to bring them to the attention of a wider audience. Very southern in style, but with that very hard rock edge. All sorts of influences from the southern ages are evident, but for me ZZ Top are the main one as I can hear Billy G’s influences everywhere.

The album opens with the great Warped, a good hard rockin’ opener. On The Run has lots of ZZ grooves added to the mix – a great song with a great vocal from Medlocke. If you have heard the Tejas album by ZZ, you will know where the inspiration for Dream On came from – a wonderful track. Street Fighter is up next and is the perfect blend of southern fried groove and hard rock. The side closes out with Gimme Gimme Gimme, a good old fashioned boogie woogie drinkin’ song to get the party started.

Side 2 starts with possibly the band’s best known song, Every Man Should Know Queenie, a song that has everything: the big riff, the catchy chorus, the sing-a-long section, and it’s very well written. In The Night starts with the Mr. Big drum groove, but slightly faster, and has some mean harp playing care of Shorty Medlocke. Reckless Abandoner is another great solid track with a perfect vocal from Medlocke. Spending Cabbage is next up and wins the head scratching award for what the hell does that mean?! A very southern/country traditional ditty. The album closes out with Fox Chase, and an awesome intro again from Shorty. It’s my favourite on the album.

A very enjoyable album.

8.5/10 from The Grooveman.

ANTHRAX – Sound Of White Noise

July 1, 2021 /

After having an enforced stay in hospital for 10 days, hopefully my normal service is now resumed. A nice randomizer choice to start – the most controversial Anthrax release of them all. I didn’t get why they replaced Joey then, and I still really don’t get the reasoning behind it now – other than Scott Ian wanted to be loved by the NYC hardcore movement, and Joey was holding his street cred up to scrutiny. I have nothing against John Bush, as he is perfect for Armoured Saint, I just don’t think he fits into Anthrax well. The sales for the Bush albums don’t lie either, as they were nowhere near where they should have been.

Anyway, Potters Field is not a bad opening track and it’s noticeable that the sound is a lot rawer, and I guess more hardcore. Only was the first single and is not a bad track. It was the flag bearer for the new Anthrax as this was the first track released. The riffs are still there, as are the chugga’s, it’s the attitude that’s changed. Room For One More shows the new attitude and aggressive vocal style. Packaged Rebellion has a slow brooding intro as they try something a little different. This track, more than any on the record, does have that hardcore feel to it. Hy Pro Glo was another single released from the album, and IMHO, is one of the best tracks on the album – it’s the most old Thrax sounding.

Invisible, if anything, sees the band returning to their early roots with the intro and the very simplest of repeat riffs. 1000 Points Of Hate is up next, and again it’s an ok tune, it’s just everything’s getting a bit same-y by this point and variation would be most welcome. Black Lodge follows and is a homage to David Lynch, and is a true departure for the record and an attempt at writing a proper song. Don’t worry it still has its heavy moments, but it’s like a breath of fresh air. Sodium Pentathol is a pure punk burst of energy with lots of vicious strumming of chords and spat lyrics. Burst is side 3 closer and is the shortest and fastest track on the album.

This Is Not An Exit opens up Side 4 and is a full on chugga attack, but again it’s lacking that spark. Noise Gate is the penultimate track and I guess we are struggling for material when the track is named after sound equipment, but it’s one of the grooviest tracks on the album with a grunge style vocal and is one of my favourites. The album closes out with Bordello Of Blood and is a great ending to the album – the band have found their sound just as the albums ending.

Yes I know it’s down to sequencing, but the band are responsible for that and this is the problem with the album. They have loaded the new sounding tracks to the front and it’s not balanced enough. Anyway, I like it a lot more than I did when it came out as I was not impressed at all when it was released.

8/10 from The Grooveman.

MAHOGANY RUSH – IV

June 19, 2021 /

This is the album where the hippy psychedelic leanings of Frank’s music started to give way to the more guitar hero rocker tunes. This also coincided with being the first recording for his new label CBS. Ironically, Frank would be battling with them for the entire length of his contract. This would also be the last Mahogany Rush record, as Frank Marino would be in front hereafter. A very underrated artist, not just as a guitar player, but as a songwriter as well and all the tunes are self penned.

Opening track, I’m Going Away, is a reminder of the psych leanings of Frank’s early music and is a great tune. The funky vibes of Man At The Back Door is next up, and has some really cool tones from his guitar. Live favourite, The Answer, follows and has a very Hendrix groove and riff and the middle section is killer – Frank lets rip with some spacey solo. Jive Baby is a great step away from the norm with a jazz/funk vibe and groove. Side 1 closes out with Its Begun To Rain, and the late sixties love and peace vibe is alive and well.

Side 2 opens with Dragonfly and you will not hear a better riff and groove. I love everything about this track – the spacey solo is just the cherry on the top. Little Sexy Annie is a sped up beast of a tune with a great riff and melody line, and some ripping guitar to blow your blues away. The very weird, Moonwalk, follows and after the intro the track goes into Mahavishnu territory as Frank’s shows his chops. The album closes with IV The Emperor and is an epic spaced out psych fest with lots of guitar. A great and enjoyable record.

9/10 from The Grooveman.

MORE – Warhead

June 19, 2021 /

Another one of the many casualties of the NWOBHM period of band’s who had a shot, but ultimately came up short. Probably more famous for having an ex-Iron Maiden vocalist in the band in Paul Mario Day, and Laurie Mansworth who went on to form Airrace, and I think he had something to do with the Cartoon in Croyden as well.

When you don’t have the songs there is not a lot you can do. I mean they are alright, but nothing jumps out and grabs you. Opener, Road Rocket, is ok but that riff was used by the Egyptians its that old. A cover of Arthur Brown’s Fire is next and it’s ok, but nothing amazing. Soldier is a half decent tune with a nice instrumental section. Side closer, Depression, is not a bad attempt at doing something a little more commercial, but the production is so flat it does nothing for the song – it almost feels like a demo.

Side 2 opens with the title track, Warhead, and again, it’s basic riff-erama that needs a boost to lift it. Mario Day’s vocals are the best thing about the song. Way Of The World at best is pub rock, and if it wasn’t for the guitars of Mansworth and Kenny Cox, this whole album would be a bust. We Are The Band has a variation on “the riff” and is ok. Album closer, I Have No Answers, starts with one of the worst guitar pieces you will ever hear, until the song starts at a gallop and could be a Hawkwind cast off.

What should have happened here is that the record company should have stumped for a half decent producer to work with the band on the songs. This album just sounds like a collection of demos that shouldn’t have been let out of the bedroom. Only for NWOBHM completists.

4/10 from The Grooveman.

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