REVIEWS FROM MY VINYL COLLECTION

Tag: vinyl records (Page 418 of 491)

VAN HALEN – Fair Warning

We have reached review number 300!!!

This started as a release from the COVID negativity, and has now turned into a challenge for myself to try and review all of my vinyl records. Only another 1700 to go!

For this little milestone, I have picked this one myself. It’s another of my desert island albums, Van Halen’s – Fair Warning. It was the band’s fourth album and the first not to include any old material from the backyard party days. A lot of fans call this the dark album, as Ed’s guitar sound and Dave’s lyrics – plus the cover art -gave the album that darker feel.

The album starts with a “how the hell is he doing that” guitar intro to Mean Streets, which is my favourite Van Halen track. The guitar sound, the chord structure, the harmonies, Dave’s lyrics, the really cool groove – everything about this track was head and shoulders above anything around at the time, and another benchmark had been made. Even the outro is pure gold with the cool ringing chord sequence. The intro to Dirty Movies is sublime, until the big power riff kicks in and the groove is almost funk. Again, Dave’s lyrics are pure gold, and a killer middle eight make this another sure fire winner. Sinners Swing opens up with one hell of a riff and is almost two tracks in one – with the slow verse and rockin’ choru, and add to that the small but perfectly formed solo – awesome! Hear About It Later closes out Side 1 and is such a killer tune. The guitar tone alone is worth the price of admission boys and girls, and what a great melody and hook. The middle eight is jaw dropping and groovey as hell. Do you want to know what made Van Halen better than all the wannabes? Just listen to this track!

Unchained opens up Side 2 and everyone should be aware of this monster. Quite a simple riff and groove but hit hits the spot. “C’mon Dave gimme a break”. The reggae vibe of Push Come To Shove follows and it’s a freakin’ awesome tune. It was so against the grain for rock bands to do anything like this at the time, especially hard rockin’ bands like VH. The solo is just so freakin’ cool. The other single from the album, So This Is Love, is next up and it has a rocked up do-wop vibe – complete with a short snappy solo. Sunday Afternoon In The Park is a short weird intro piece to One Foot Out The Door, and is the first time a synthesizer was used on a VH record – Edward bolted it onto his guitar! One of Edward’s best solos is towards the end of One Foot Out The Door – it’s just jaw dropping in its execution.

I know I say this a lot, but we will never see the likes of a Van Halen type band again. When I think about Edward no longer being with us it makes me so sad. This is obviously an everyone should own one.

10,000/10 from The Grooveman.

ROD STEWART – Every Picture Tells A Story

Believe it or not, there was a time when old Rod The Mod was a serious artist and not just a purveyor of cringe worthy crooner tunes. After stints with Jeff Beck and The Faces, old Rodders thought he would be better out on his own – although to be fair, he did have a solo deal in place prior or joining The Faces. Ron Wood would help him out on this album before he would join the Stones.

Relying on outside writers and cover tunes, this album only has three tracks that Rod had a hand in. The best one of those is the opening and title track, which has that old Faces feel to it as it was co-written with Wood, and is one of my favourite Stewart tunes. Seems Like A Long Time has a slow, almost blues vibe, that Stewart could do in his sleep as his voice was tailor made for these types of tunes. Carrying on the blues theme with That’s All Right, with some nice slide from Mr. Wood. You will probably know this from the Elvis version, but I love the old delta blues vibe better – plus, Amazing Grace done in the same style is tacked onto the end of the tune. Dylan’s, Tomorrow Is Such A Long Time, follows and closes out Side 1 and is near true to the original.

Other than Sailing, Maggie May is probably Rod’s most famous tune and opens up Side 2. I would describe the Intro as almost folk complete with mandolin, but this is such a great track and is sang perfectly. It’s one of those tracks that gets you looking back into your past, reminiscing on simpler times. Mandolin Wind is the final track that Rod had a hand in and is slow folk/blues. It’s quite a simple song until we get near the end, then the Maggie May groove returns. I Know I’m Losing You is a cover of an old Temptations tune and given the rocked up Faces treatment, without losing the RnB feel. Reason To Believe closes out the record, and is a cover of folk singer Tim Hardin’s original. Rod sings it with an almost gospel feel, and this was originally the A side to Maggie May. I prefer early Rod to the latter that’s for sure.

8/10 from The Grooveman.

METALLICA – Kill ‘Em All

There are very few albums that are genuine game changers, Kill ‘Em All is most definitely one of them. Up until this album, thrash was something that Arsenal used to do to Liverpool at Anfield. I have very fond memories of head banging to this beast with Fixer in my bedroom and thinking this was the best thing ever. This wasn’t the first thing the band had recorded. Hit The Lights first appeared on a Metal Massacre compilation and their self financed demo tape, No Life Till Leather. Everyone knows how Mustaine was removed from the band, but his influence is on four tracks that he co-wrote with Lars and James.

Along with Exodus and Anthrax, Metallica were the founders of thrash period. I don’t put Slayer in that category as I consider them to be a joke compared to the other three. There is not one second of this record that does not put a smile on my face, and it still has that effect today. The Four Horseman is an absolute monster of a tune and a definite genre defining track. Whiplash is another killer tune where speed definitely killed. Side 2 has to be the strongest side of metal ever put to record. Phantom Lord, complete with the slowed down section, has great dynamics as well as heaviness and speed. No Remorse has a killer riff and groove, and is simple but effective. Seek And Destroy is probably Metallica’s best known track, and yet is at a more normal pace, but that riff and the repeating chugga’s gets you every time! Close out track, Metal Militia, is just insanity and is as fast as hell. Well, it was at the time!

I wonder if the band that recorded this could see themselves now and what would they think. Anyhoo, this is a classic and if you only could buy one Metallica album, I would chose this one.

10/10 from The Grooveman.

JOHN PETRUCCI – Terminal Velocity

This was recorded some 15 years after his first solo album, Suspended Animation, and would also be the first time that he had recorded with Mike Portnoy after his somewhat acrimonious departure from Dream Theater. Well, the experience must have been a good one, as they resurrected Liquid Tension Experiment and recorded an album for that project also. They are joined on bass by Dixie Dregs’ Dave LaRue. There is no doubt that Petrucci is at the top of his game when it comes to tech metal guitar players, and he shows off his talents as you would expect here. I happen to think that Petrucci is responsible for one of the most beautiful solos committed to vinyl on the track, Lines In The Sand, from the Falling Into Infinity record. He can play with feel with the best of them, so I expect more than the usual shred-fest.

The album starts with Terminal Velocity and The Oddfather, and they sound just like Dream Theater instrumental tracks and they aren’t straying too far from the path as this is what most people expect, very technically perfect and very well played. Happy Song is a tech metal version of Weezer with a bit of Satriani thrown in. Out Of The Blue is the first track where he steps out of his comfort zone and into the blues – it’s a nice sidestep. Glassy Eyed Zombie sounds as though it’s been around since Six Degrees as it has that vibe with a nice and chunky fat sound. The Way Things Fall has a very Rush sounding intro and the guitar parts are playing what would be the vocal part. Snake In My Boot is almost eighties hair metal with the hand claps and everything. The last track, Temple Of Circadian, is full of fat riffed d-tuned goodness with the heavy grooves to support it, and is the best track on the album.

9/10 from The Grooveman.

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