REVIEWS FROM MY VINYL COLLECTION

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MOTORHEAD – Iron Fist

This is the final album to feature Motörhead’s classic and best line up . It’s well documented that Eddie hated the recording sessions for this album, as he thought they were being rushed and his opinions were not being heard, he ultimately quit the band to form Fastway.

Iron Fist is often regarded as the worst of those classic albums, but I am here to tell you it’s not as bad as you think, even though the production is a bit flat. The title track opens up the album in fine style, it’s a classic Motörhead romp that only they could do. I’ve always liked Heart Of Stone because it’s a tune with a very simple riff, as are most Motörhead tracks, the track also has Phil’s trademark double kicks and one of those ear worm hooks. I’m Your Doctor is one of the tracks Eddie didn’t like as he thought it was too throwaway, he does have a point as it’s the weakest song. Go To Hell has a really cool riff and progression, a classic Head tune. I’m A Loser almost feels like a pop tune, at least at the intro and the chorus. Side 1 closes out with Sex & Outrage, a full on pedal to the metal Motortune.

America opens up Side 2 and has a very mid-seventies riff and heavy blues groove, a bit like Capricorn from Overkill. Shut It Down has a classic Eddie riff and that groove only the gruesome threesome could do. Great track!!! A song about themselves is next with Speedfreak, it’s definitely my favourite track. A killer Eddie riff and the trademark Motörhead groove, this track could have graced any of the classic albums. Boy do I miss these guys! Don’t Let Em Grind Ya Down starts with Phil playing a very un-Phil-like busy beat and groove, adding a bit of spice to proceedings. Lemmy always used to introduce the band by saying “we are Motörhead and we play rock n’ roll.” Well, the intro riff to Don’t Need Religion is pure rock n’ roll, and I would say it’s a bit close to Johnny Kidd and The Pirates. The album closes with Bang To Rights, a trademark Motörhead blast through three and a half minutes of your life driven by a great Eddie riff.

I’ll admit if I want to listen to Motörhead my go to’s are usually Overkill and Another Perfect Day, but I really enjoyed listening to this for the first time in a long while.

8/10 from The Grooveman.

SAVATAGE – Gutter Ballet

This is Savatage’s fifth release. It came out in ’89 and sees the band expanding their sound with a more progressive edge. The whole album is a concept split into two acts, which just happen to be side 1 and 2. The concept came about after Jon Olivia went to see The Phantom Of The Opera on Broadway and was so inspired he immediately on his return wrote the music to the title track.

A superb collection of the operatic mixed with the metallic, this was (at the time) quite a groundbreaking record, from a metal band anyway. This copy is a reissue with a bonus 10-inch record containing Thorazine Shuffle and a Iive version of When The Crowds Are Gone. It’s hard to listen to this without listening to the whole thing as it doesn’t fit if you dip in to a random tune. My favourite segment (shall we say) is She’s In Love. It’s a more traditional metal part of the opera with an absolute monster riff and groove, this track just pounds along. Act 2 has more of the heavier moments, but taken as whole this an ambitious piece of work and still sounds great today.

9/10 from The Grooveman.

BAD COMPANY – s/t

Bad Company are one of the bands I instantly think of when I hear the term Classic Rock. Formed in ’73 by ex-Free members Paul Rodgers and Simon Kirke, ex-Mott The Hoople guitarist Mick Ralph, and King Crimson bass player Bozz Burrell – the word supergroup was invented for these guys.

Taking that Free sound and giving it a slightly more commercial edge, they were onto a winner from the get go with lead single Cant Get Enough. A superb track with a very simple riff and groove, and yet catchier than a virus at a COVID convention – an all time classic tune.

Paul Rodgers is superb throughout the record, especially his performance on Ready For Love and the title track. He has such a beautiful warm tone to his voice that many have tried to copy. The production on this album is awesome. The separation of the instruments and the clarity with which they come through, I have to say this is one of the best sounding records I own. Favourite track has to be Can’t Get Enough, it is one of the best songs ever made.

10/10 from The Grooveman.

THE STRUTS – Strange Days

This is The Struts’ third release, it came out on vinyl as part of RSD 2021. A product of COVID, and what was meant to only be a an EP turned into a full album thanks to the extra downtime.

The opening track is quite a laid back affair in a very britpop kind of way, you even get Robbie Williams as a guest, the song sees the band reflecting on very strange times. All Dressed Up is very reminiscent of The Stones with that very simple riff and added dose of 70’s glam thrown in. Next up you get a cover of Do You Love Me by Kiss, a very sleazy glam sounding version and the drum groove at the intro reminds me of Bags by PIL. I Hate You How Much I Want You is pure 70’s glam with a very TRex vibe, and you get Joe Elliot on bv’s. Wild Child follows and has a guest appearance from Tom Morello. The riff is something straight off of Rage and again with that big 70’s vibe, it gets my vote as favourite track.

Cool opens up Side 2 with a huge Stones style riff and groove. Burn It Down could be by the Faces, it’s that close. A nice homage! It’s country rock time next with Another Hit Of Showmanship, well at least at the intro anyway, then the song gears into a really cool pop song. Can’t Sleep steals the beat and groove from early 60’s soul and R’n’B, and couples it with a killer glam sound. The album closes out with Am I Talkin’ To The Champagne, another cool R’n’B groove and bass line that builds into a superb groovy pop track.

I think we are due another album from Derby’s finest, as a I read somewhere they were in the studio.

8.5/10 from The Grooveman.

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