All hail the return of the forgotten kings! Yes, it’s another instalment of long lost and forgotten classics with the second “Scrap Metal” collection from RidingEasy Records! Much like their Brown Acid series, which compiles obscure late 60’s/early 70’s psych hard rock, here we’re delving into the murky depths of early 80’s metal. This is the realm of studded belts, band patch covered denim jackets and of course, mullets: prepare to ROCK!
We begin with ‘Running for the Line’ by JJ’s Powerhouse – a lightning-fast ripper that reminded me of Judas Priest playing a cover of Budgie’s ‘Breadfan’. It’s a great, energetic start to the proceedings. Next is Storm Queen, with another fast-paced attack in ‘Raising the Roof’. Furious fun from this Welsh power house.
‘It’s a Crime’ declare Jameson Raid, and it is indeed a crime that these Brummie bruisers didn’t achieve more in rock’n’roll. A.R.C. have a punk’n’roll edge that makes their song ‘Homemade Wine’ something to savour, it’s the rawest track here so far. Metropolis hail from San Jose, and their track ‘The Raven’ has a dark, mid eighties thrash sound and killer intro riff.
Staying with the USA, Prowler from San Diego offer up ‘Temporary Insanity’ – more mid-eighties thrash infused metal that recalls early Anthrax. Following that, Christian Steel deliver ‘Need Your Love’ – a fairly cliched, but still fun, banger. If these guys are Christians, I’ll bet their church group won’t be impressed with what they’d like to do to a lady (outside of matrimony too, I suspect). ‘Sidewinder’ is one of the best tracks gathered here, a punchy rocker from Black Rose.
‘Star Trippin’’ is by Dark Age. Dark Age are apparently a band of youngsters: the guitarist was jut 12, and his brother on vocals two years younger when this song was written. It’s fun, but very strange listening to the helium high-pitched voices. It’s like Alvin & The Chipmunks playing Crue covers. Finally, we have Sorcery with their mystical Zep-a-thon ‘Whales’. Crazy title for a crazy tune. There’s a mellow hippyish intro, which is obliterated by the crushing mega riff which powers the song along. Over the top magnificence.
From NWOBHM inspired tracks, to proto thrash and full-on goof ball metal ragers, Scrap Metal Vol 2 has plenty of variety. Maybe not so much depth, but it’s not for want of trying with some of these bands. At the end of the day, all of these songs are fun and it’s great to know they’ve been rescued from oblivion. Now, raise those horns and roar!
A weekend of full on metal and hard rock, Pentre Fest is a highlight of my musical calendar. Held at McLean’s pub in Pentre, Deeside, North Wales over two days, the event always showcases some of the best bands from around a vast area of the UK.
This year I missed Friday’s gig as I was otherwise engaged. However, I was raring to go for Day 2, and a whole load of awesome music. Here’s my review for Ever Metal, covering everything I could of that day’s entertainment.
Day 2
Day 2 at Pentre fest – you could say I was a bit excited to get going. The ever-reliable Edd Case was performing in the marquee outside as I arrived, so I missed a chunk of his set sadly, as I paid my hard earned coin to get in and neck my first ale. Luckily, Edd did another slot of his excellent acoustic performance later on, so I got to catch him then. I think he was filling in for some band called Trashatouille, who couldn’t be arsed to turn up and attempt to play their own acoustic effort.
First band on the indoor main stage was Scarfoot, and they made a hell of an impression. A three-piece band, they add an extra edge to their already formidable musicianship with the use of a 12 string guitar or a Dobro. This gives the band a huge, Zep-epic and individual sound. They all play with a convincing passion and were absolutely enthralling. I’d never seen them before, but had caught singer/guitarist Oliver Carins last year doing a solo acoustic set. Next time, these guys need to be higher up the bill! Scarfoot also blazed all over the acoustic stage later on, with a similarly massive sounding set, even without the drums.
Frank Williams
Next on the second stage: a World Exclusive Live Debut! Frank Williams in his first official live gig, though sadly not billed asVictim of Damp. Frank is a Pentre Fest die hard, an unsung hero who has supported the event and pitched in with Fozzie and Beany from the beginning. This afternoon, Frank graced us with some acoustic covers (nice bit of Floyd) and banter, then introduced some comrades to help with humorous originals such as ‘Beany’s Car is Full of Shit’. Excellent crowd participation helped Frank’s set gallop home as a pedigree winner.
It really wouldn’t be Pentre Fest without these guys. With a line-up change – or should I say, addition – in the shape of new vocalist, Gaz (who used to be the drummer. Come on, keep up!). This latest incarnation of Lullaby for a Unicorn was a refreshed and fun stallion, rather than a lame pony. There’s a little work to do to settle the new line-up in, but it was the same boisterous energy as ever as the Unicorn boys turned Pentre into a beautiful, rainbow adorned meadow. Or blood-soaked battle field of metal mayhem, you choose.
Scarfoot was next on the second stage. I’ve already covered that, go back and read it again.
Despite a tech issue with the bass throwing a wangler with the first song, The Human Condition kept their shit together and provided another surprise. I had done no research whatsoever and didn’t know what to expect. By Odin’s beard, The Human Condition are a megalithic, doom metal colossus! Doom in the vein of Candlemass, or think Geoff Tate screaming for Trouble. Riffs are drip fed, leaving the audience begging for each new note. Add the most powerful live vocals I’ve heard in eons, and you have a force of biblical proportions. I bought a CD. You should check them out NOW.
Back to the Second stage for an acoustic Pelugion set – but we’ll get to them later.
A melodic deathcore band from Manchester way, Portrayal of Ruinn isn’t quite my thing on paper, but fucking awesome live. Possibly the most energetic band on stage at Pentre Fest all day, their combination of gutsy, nasty metal and bouncy, yet ferocious vocals proved a winner. They also know how to pace their set brilliantly – a few mellow sections lull the crowd into a comfy security blanket, only to have it ripped maliciously away. It’s the audio equivalent of a Video Nasty psycho killer – you’re never safe, Portrayal of Ruinn will never stop – and they will get you in the end!
Reading back my notes here, and I can’t make a thing out of them. All I can fathom is that I REALLY liked this band: “Syncolima = great!” is about all I’ve got. They were excellent. Some kind of biker/stoner super heavy rock, they have groove aplenty and massive fuzzed out riffs. This three-piece from Mansfield, Notts were unmissable. New album “Wavelengths” is out soon, you’d be wise to watch out for it.
Wait a minute – it’s that bloke from Bad Earth doing an acoustic set! Yes, it’s Steve from one of Pentre Fest’s favourite bands, backed with the other two ‘orrible ‘erberts, Karl and Ben (so semi acoustic, then?). The Bad Earth songs translate surprisingly well to the stripped-down sound, though they can’t compare to the full force fury of the full trio amped up and going for it. But then, what could? A great set that also included some cruel (ie hilarious) comedy signage behind Steve’s head, it also delivered a much needed bongo workout that was otherwise sadly lacking this year.
Mind. Blown. Thank the trident of Posiedon, King Kraken travelled up from South Wales (a right old trek) to play Pentre Fest, and I’m so glad they did. The Kraken are a huge, boisterous metal machine with crushing riffs and awash with an almost psychedelic lead guitar. My favourite band of the day, despite fierce competition – I made off with some booty from the merch desk and toasted their performance with a tankard of ale. Please check this band out, you will not regret it. Magnificent!
Last year, one man electronica fiend Leatherback was first on the Pentre Fest main stage. This year, it’s a second stage headlining slot, which worked well. Nine Inch Nails comparisons are obvious, but relevant when there’s a cover of a Reznor classic included. Leatherback ripped through a roaring set that went down extremely well with the lively crowd, even though it was freezing outside – receiving a well-deserved, enthusiastic reception.
Pelugion had performed an excellent acoustic set on the second stage earlier, which seems to have been a great way for them to warm up for their main stage appearance. I’ve seen these guys before at Pentre Fest and they never disappoint. Skull smashing mega riffs, born from Sabbath and with a dose of Alice in Chains and early Soundgarden – a stoner/alt metal monster – is what you can expect. These guys are super professional, but with grit and determination that keeps the performance compelling.
Headliners on the final day of Pentre Fest, The K*nts drove over five hours from down Essex way to entertain us. With hits such as that Christmas favourite ‘Boris Johnson is a F*cking C*nt’ and ‘F*ck the Tories’, we knew we were in for a treat. Hilariously, the Green Room reserved for the bands had been double booked with a meeting for a local Masonic Lodge. I wonder how The K*nts and this bunch of blazer-and-badge wearing eighty-year-olds got along back stage. Honestly, you can’t make this shit up. It’s like Phoenix Nights on crack.
A strange choice to headline a metal festival for some, never the less The K*nts put on a top show and had the audience on their side before the first song was even finished. Delightfully obscene, but with a political edge that helps retain a tiny bit of highbrow cred too, it’s like Sham 69 with Tourette’s. Most of the song titles are unrepeatable for a family website like Ever Metal, but let’s just say that The K*nts and their filthy brand of punk rock and humour were a mad but genius way to finish Pentre Fest off. And it probably will be finished off, if those old Masonic dudes have anything to say about it.
Oh, and yeah – Fuck the Tories.
It was my absolute pleasure to cover Pentre Fest for Ever Metal again this year. Huge thanks to the bands, the audience, and the staff at McLean’s for putting this on. And finally, thanks to Fozzy and Beany for daring to dream it up and make it happen.
I just wish Pentre Fest could be every weekend. Or once a month, at least.
More Trouble! Another welcome re-issue from Trouble’s back catalogue courtesy of Hammerheart records, here we have their 2013 album “The Distortion Field”, back in circulation. This was the last studio effort the band have released (at this time) – and with vocalist Eric Wagner (RIP) absent, replaced by Kyle Thomas (of Exhorder and Alabama Thunderpussy).
Sure enough, things get off to a solid start with a thunderous ‘When the Sky Comes Down’ and ‘Paranoia Conspiracy’, both reliably Trouble-some rockers. The album really picks up a gear or three with ‘The Broken Have Spoken’, a lumbering riff juggernaut that reminded me of Pantera. Then there’s ‘Sink or Swim’, a mighty, pacey mountain shaker with a chorus hook so big it could reel in a Kraken.
There’s little of the psychedelic, hippy journeys found on the Def American albums. Instead, there’s the almost ballad ‘Have I Told You’, which haunts like vintage Alice in Chains. The quality only dips with ‘Glass of Lies’, which is a little too barroom boogie for me – though the last section of the song thankfully reverts to a funereal doom speed.
For the most part though, songs like ‘Hunters of Doom’ deliver exactly the kind of chugging riffology that the listener would expect. ‘Butterflies’ illustrates Trouble’s doom strategy perfectly again – slow, heavy crunch with another almighty chorus.
Add in the bonus track ‘The Apple from the Snake’ and this is prime Trouble. Newcomers may want to start with something from the band’s earlier work, but a re-issue of “The Distortion Field” is fantastic news for fans. Add this record to your collection and keep your fingers crossed for something new in the near future.
My mate Keith Moon was a trouble maker who needed no introduction – blowing up toilets, scrappy food fights and driving limousines into swimming pools. He was good as gold round at his old mum’s house, though. I went there once with Keith, and it was all very pleasant. Cup of tea, slice of cake, lovely conversation with Mrs Moon. Very down to earth. Until I got home later that is, and spent the entire evening on the loo. Moony told me later that his mum – another practical joker – had laced my food with laxatives. Very bloody funny.
Stockholm, Sweden: sometime in the early 1990s. At this point in their career, legendary doom metal instigators Trouble were signed to Def American records and starting to shift a few extra units. The Chicago band were invited to play in Sweden by fellow pioneers Candlemass, and it’s this gig that provides the music for this double LP live extravaganza.
The release covers the never before available, complete set from that evening. Fully remastered by Erwin Hermsen at Toneshed Studio , it’s now unleashed as a double album on seductive, alluring vinyl.
Track wise, the PR blurb casts this as a “greatest hits” set, and rightly so. Of course, there’s a healthy selection from the Def American albums, such as a blistering ’Come Touch the Sky’, the brilliant ‘Memory’s Garden’ and a crushing ‘End of My Days’. Older tracks also get a fair showcase too, with ‘Psalm 9’ and ‘The Skull’, amongst others, proving how this band achieved their legendary status.
So, this live collection is a great overview of Trouble’s music at this point int time. What’s also encouraging is that the sound really is impressive, the remastering has done a fine job of polishing these tracks. Unlike many live offerings, this album has a reassuringly clear – yet still live and raw – finish. ‘The Misery Shows (Act II) is a great example – the mellower parts shimmer, though the crunch is still present when needed.
“Live in Stockholm” is indeed a good place to dive in for anyone who wants to sample Trouble’s catalogue. For the long-term fans, the performance and sound both offer a worthwhile addition to the collection. Personally, there’s nothing new, song wise, here for me – so I really can’t mark this release any higher – but a solid release nonetheless.
You might think that characters like Ozzy, Tommy Lee or Lemmy would’ve been terrible for getting me in trouble in the past, but they were all sweethearts really. The person who got me in more trouble with crazy antics than anyone was actually, believe it or not, new wave pop princess Belinda Carlisle. She was a total deviant. Scary. I can’t tell you any more because she still thinks I died of an overdose in a Tijuana brothel in 1985. And quite frankly, I’m scared of her.
Please check out Trouble’s website, their Facebook and Bandcamp – buy their stuff and make them famous.
This review has been brought to you by Platinum Al and Ever Metal.
Well, that’s it, it’s over – I thought to myself on first perusing this latest entry in the Brown Acid series. The well has finally run dry. The RidingEasy Records archaeologists have eventually reached the end of their previously rich vein of rare, obscure and undiscovered proto-metal and vintage hard rock. How had I arrived at this conclusion? There are only eight songs, compared to the usual ten; with a running time of just 26 minutes.
Then I realised that the final track, an 8-minute-long number by a band called Raven, was missing from the press review download I had. So that extra track would even things out nicely, with a decent longer running time. Though I wouldn’t be able to review every song, at least the existential crisis of NO MORE ROCK had been avoided!
Volume 14 starts of with the great ‘Fever Games’ by The Legends: it’s a rampant, rollicking late 60’s ode to Blue Cheer, Hendrix and Cream. Despite aping Jimi a little too closely, this song is a lively opener. Next up is Mijal & White with ‘I’ve Been You’. This track sounds like the Monkees cutting a particularly noisy song by The Who, which should encourage you to definitely give it a whirl on your gramophone.
I don’t know who Henry is, but thanks to the chunky blues rock of Liquid Blue, I know that ‘Henry Can’t Drive’. This is a more traditional heavy rock number, and as an album highlight it keeps the engine speeding along on a straight track. There’s a fast rock’n’roll MC5 vibe to ‘Signs’ by San Francisco Trolly Co. This energetic song is followed by Blue Creed’s ‘Need a Friend’, a raw and rough brawler. It’s a contrast to ‘Play It Cool’ by Transfer, which reminds me of a revved-up surf track.
‘You’re Not the Only Girl (I’m Out to Get)’ by Appletree finally ushers in some much-needed cowbell. Reminiscent of Grand Funk Railroad and – gasp – even early Kiss, it’s another quality highlight. Ideal for playing in an old, rusty’n’trusty Camaro.
Cox’s Army gives us another Hendrix inspired number with ‘I’m Tired’, which bops along in a true groovy manner. And that, for me, is my last track on my version of “Brown Acid: The Fourteenth Trip”, though as mentioned above, there is another song called
The mighty Trouble! A release from these titans of doom metal is always worth celebration, and this is no exception. Back in the early 90s, this cult band were verged on the edge of a mainstream breakthrough, with two albums on the Rick Rubin helmed Def American Records (also home to Slayer, Danzig, Black Crowes and others). Alas, it was not to be: this eternal underground favourite was to remain just that.
“One for the Road” followed the second, self-titled Def American album, as a limited-edition European tour EP. This re-release bundles that with a full length “unplugged” album: remastered to provide a fully upgraded compilation.
The first five songs comprise that “One for the Road” EP, with first track ‘Goin’ Home’ bursting from the speakers with exactly the kind of exciting hard rock you’d expect as a Trouble opener. ‘Window Pain’ offers a pulsating, mid paced doom rocker, whilst ‘Requiem’ brings the tempo down further with a melancholy, gloomy metal dirge. The Black Sabbath influence is most obvious on ‘Another Day’, whilst ‘Doom Box’ raises the tempo a little but still holds a candle to Dio era Sabs. Some of these songs would turn up in different form on later albums, but this EP brings together an excellent capsule that fits neatly into that mid 90s period.
Back in the early/mid 90’s, “unplugged” albums were all the rage. Like others of that era, this Trouble entry into that genre isn’t always stripped down totally to just vocals and acoustic guitar: there’s still electric guitar, drums and more to embellish the tracks were necessary. The strings added to this second version of ‘Requiem’ are exceptionally orchestrated and serve the mood of the piece brilliantly. That said, ‘7.00 AM’ is a remarkably restrained and beautiful song, recalling Sabbath and also Trouble worshippers Soundgarden.
Those songs – and the other tracks comprising the “Unplugged” part of this release – offer a relaxed side of the band that explores more of their psychedelic, sixties interests (see their cover of The Yardbirds’ ‘Heartful of Soul’). It’s a release that even my eleven-year-old daughter appreciated. The only mis-step is the jaunty jig of ‘Smile’, which is just too jangly and nice. Yet have no fear, the version of ‘Misery’ showcased here (released as ‘The Misery Shows’ on the eponymous Def American release) reminds us just how great this band were.
My only major issue is the cover art. That may seem petty when this is a review of the band’s music, but as a long-term Trouble fan, I’m considering buying the vinyl copy for my collection. And that vile cover may well deter me from doing so. Trouble has a great logo, but the cover squanders this with nothing other than the title, in what looks like – GASP! – Comic Sans MS! A font that should only be used by primary school teaching assistants, it dates and also ridicules the stature of the music. It’s a truly vile and lazy cover – seemingly thrown together by a Johnny-No-Stars work experience boy on his lunchbreak. Awful. Couldn’t someone have redesigned it?
I’m docking points for that, ‘cos the cover mocks all I hold holy. Beyond that, fantastic music and a must for any Trouble fan.
Recently I’ve been razzing around this rundown town in Platinum Al’s Pimp Mobile (a 1980 Chrysler Cordoba, of course), blasting out this new compilation from those hard rockin’ duderinos at RidingEasy records. And I haven’t had this much honest-to-rockness fun in goddamn ages!
You may recall RidingEasy’s previous comps, as reviewed by yours truly, from their Brown Acid collections of long lost proto-metal/stoner rock artifacts of the late 60s/early 70s. Well, with Scrap Metal, they’ve taken the same approach (unearthing long-forgotten rare tracks, and releasing a carefully restored sonic document of said tunes) – but this time, applied it to the age of 70s/80s classic Heavy Metal.
Listeners will discover a variety of styles of HM here, as the genre splits into numerous offshoots. So, we get to hear the blossoming styles of NWOBHM, thrash, doom and glam at a time when they all still share a generous amount of DNA. It’s classic metal, folks – and to be honest, I didn’t find that much difference between the “styles” on offer. What I did find was ten blinding tracks of fun (and slightly dumb) rock’n’roll monsters.
Witness, for example, the wonder of “Headbang” by Rapid Tears. Fast paced, dumb ass, dingus brained heavy rock for you to race to the chippy in a Trans-Am. It’s glorious. Then, with barely a rest, we’re assaulted by Air Raid’s “69 in a 55”: like early Maiden (even down to the Paul Di’Anno vocals) but with a cucumber stuffed down the spandex pants.
And the surprises keep on coming. Hades are simply brilliant, their track “Girls Will Be Girls” venturing toward speed metal. Resless have a crap name, but “The Power” is a Priest like power-thon that is bound to excite. “Enemy Ace” by The Beast is a definite unrefined highlight; almost in the realms of crossover, it’s a particularly aggressive track that’s totally unsuitable for polite tea parties with grandma.
The compilation isn’t perfect: Don Cappa’s “Steel City Metal” ticks all the cliché boxes, but plods. Yet adrenaline infused, urgent rockers like “Can’t Stop” by Dead Silence, “Iron Curtain” by Czar and “Viking Queen” by Real Steel keep the fists punching the air and a grin on the face.
As with the Brown Acid series, it’s bewildering how at least some of the bands on Scrap Metal Volume 1 didn’t get any further. I’ve heard a lot worse. However, careers are built on consistently great song writing and performance – we only have one (admittedly brilliant) song by each band to testify here.
The lyrics and themes may wallow in the murky depths of the tired and obvious, but I challenge any of you to not enjoy the music on offer. Park any pretentions of sophistication you may hold, the energy to be heard on these tracks is pure pleasure. Pull on your super tight jeans, bullet belt and patch covered battle vest, let your hair down (if you still can), and rejoice in a simpler time. Scrap Metal Vol 1 is a full on, beer swilling triumph of an album. HEADBANG!!!
Back in early 1970, I was in LA working for Jim Morrison, singer of the Doors. Morrison was a pretentious, drunken bore – but we did have a few old laughs. This one time, Jimbo was mid-liaison with a young lady in her upstairs apartment, and I had to pick him up in his new car before the pair were interrupted by her husband. Parked in a gleaming white Dodge Challenger under the first-floor window, there was no fire escape and Jim had to jump out of the window onto the roof of his car. It was a hard top, not a cabriolet, and Jim’s fat arse flattened it like an egg box when he hit it. He wasn’t in the best shape at that point. Wrecked that beautiful car, too. Luckily, I could still see out of the window, and drove off in hysterics, while chubby Jim tried to squeeze into his tiny leather trousers.
Great days, indeed. And the memories of that time always come flooding back when I spin one of these Brown Acid compilations from RidingEasy Records. Yet again, the guys have dug out some long-lost treasures of the early hard rock and proto metal variety, to return phoenix like from the netherworld.
Things get underway splendidly with “Run Run” by Max, a funky riff rocker that will light up your lava lamp straight away. It’s probably my favourite on another strong collection. Next is “Dark Street” by Ralph Williams and the Wright Brothers – fuzzy guitars and great vocal melodies with a faint air of menace. Geyda provide “Third Side”, another pacey rocker, reminiscent of the MC5.
Following that, there’s Gary Del Vecchio, who’s apparently “Buzzin’”. But then, who wasn’t in those days?! It’s party time blues rock in the vein of early Zep. John Kitko is suffering from “Indecision”, as proven by the psychedelic jam of the start contrasting with the speedy, aggressive main body of the song – with Alice Cooper-like vocals.
“Hope” by Bacchus reminded me of old Jimbo’s band doing “Roadhouse Blues”. Master Danse are up next with a very heavy blues number, “Feelin’ Dead”. It’s a slow, ponderous song with a melancholy vibe – which I’ll swear was stolen by The Cult for their obscure B-side “Wolf Child’s Blues”.
Orchid offer up the weakest track on the album, “Go Big Red”, a fairly unexceptional garage rock number. It’s fun and still has some charm, though. Then you’ve got Dry Ice and “Don’t Munkey with the Funky Skunky”, a crazy fast paced number that’s like The Monkees and Jimi Hendrix jamming a Eurovision novelty song. On drugs. Finally, a strong final track from Good Humore, “Detroit” – a catchy tribute with a sprinkling of MC5 at their most rock’n’roll.
And there we have it: another fine collection of rock fossils unearthed and displayed for our enjoyment, never to be forgotten again. It may be “the Thirteenth Trip”, but this ain’t unlucky for some – it’s gold all the way.
Remember that World Wide Web thing? Well, you can check out RidingEasy Records at various site webs, such as their own, Bandcamp, Facebooks, Twidder, ChewTube and Insta.
This review was presented to you by Platinum Al in association with Ever Metal.
Well, who’d have thought it? Here’s the twelfth instalment of the Brown Acid series from RidingEasy Records, their ongoing exploration of rare, lost and forgotten treasures from the late 60s and early seventies. These proto-metal, hard rock and heavy psych riches are continuing to turn up, thankfully curated and shared with a new, wider audience. They still haven’t run out of steam, which is very good news.
This time, the Professors of Rock (“Prockfessors”, anyone? Nah, never mind) have released ten more crazily good tracks from the past. As can be expected, the bands are deep fried and the guitars are fuzzier than a Macdonalds burger-flipper’s chin.
And so, we commence with “Mother Samwell” by The Waters: a blinding, acid-drenched rocker from 1969. How can this have been lost for so long? Up next is “Vibrations” by Village S.T.O.P.; featuring Hendrix style guitar in another pacey rocker. Though very much of their time, these songs pack a ton of energy – you’re gonna want to freak out. Right out.
“1930” was quite a year, claim White Lightning, with a funky, chunky marauder of a tune that’s like Grand Funk, on the rare occasions GF got it right. Shane serves up some proper skronky organ with “Woman (Don’t You Go)”, reminiscent of a shrieky, early Purple. Then the keyboards get even skronkier with Ace Song Service’s “Persuasion”, though the attack is harsher.
Opus Est really kick out the jams with “Bed”, which has a killer riff that would please Gibbons or Page. The Mopptops have a terrible band name (maybe that’s why they disappeared), but their song “Our Lives” is one of the heavier, more vicious sounding tracks here. It’s a punk rock bruiser that seems totally out of time – surely this can’t be 1968?
A bland band name, but Artist inject their song “Every Lady Does It” with enough hip-shaking Hendrix raunch to raise the roof. Great chorus too; this is faultless. Then it’s more great lo-fi garage ZZ Top with “Comin’ Home” by Stagefright, before we finish with Dickens (great name!) and their weird fuzz metal with minimal production, “Don’t Talk About My Music”.
Whether they’re discovering hidden gems in dusty tombs, or exhuming abandoned corpses and bringing them back to life – pick your metaphor: the RidingEasy Forensics Department have managed to surprise yet again. Their quest seems never ending, but we can be thankful that these dedicated scholars continue to discover hitherto abandoned sonic delights.
It’s harder to pick out gems which shine brighter than the others this time around, but “Brown Acid: the Twelfth Trip” manages to reach a high standard across the board. Very enjoyable, and recommended listening for when Jimi and Janis pop round for some mushroom tea.
For this review of “Salvation, If You Need…”, the second album from UK stoner rock titans 1968, I promise that there will be no messing about, no silly stories, no nonsense whatsoever. I’m not even drinking. Rather, I will endeavour to write a serious review that treats this album with the respect it deserves. Not enough respect to get the article written on schedule, mind; but hey – I never said I was perfect.
Anyone familiar with 1968 from their previous efforts will not be disappointed to learn that the band’s strengths are in full flow here. Thankfully, they’ve also pushed boundaries and explored their psychedelic tendencies further than ever before. Witness opening track “Railroad Boogie”, which teases a funky Blaxploitation groove before unleashing the glorious big riff sound that we expect.
Comparing 1968 to Kyuss is far too obvious and lazy. Jimi Ray’s voice has some of that gruff John Garcia sound (with a little later-period TSOL vocalist Joe Wood), though his vocals have matured to a sincere, soulful timbre. See also, guitarist Sam Orr: schooled in Sabbath riffology and Lizzy attitude, here his Hendrix aspirations are allowed to fly unrestrained. Magnificent washes of sound cascade and add colour everywhere, without being obtrusive.
“Blackwing” is the highlight for me: a refrain that’ll slip into your ears and lodge there. It’s pointless trying to remove it. Whether happy accident or hard slog, this is an epic riff. “Eastern Wind” follows a similar path, but offers enough of its own controlled chaos to stand on its own two feet.
Tom Richards’ bass warms up “Here It Lies” and expertly keeps the vibe dialled on a grungy, early Soundgarden pace. The raw, unrefined blues of “Small Victories” and “God Bless” also allow drummer Dan Amati to show he can play refined and delicate, as well as thundering and determined.
Yes, 1968 are undoubtedly still inspired by the classic rock of the late 60s/early 70’s, but we’re also drinking beers in Satan’s Dive Bar, somewhere in Seattle, with a jukebox that’s stuck on Badmotorfinger. And some Budgie, too, based on the solid cover of that band’s “Guts” that shows up here.
Look, I’ve tried to be serious for once, and I hope you appreciate it, reader. “Salvation, If You Need…” is a truly magnificent piece of work. I’ve been playing it for ages and it hasn’t aged. I’m still discovering little delights everywhere. It has scale and pace that other bands don’t dare trifle with. A contender for Album of the Year, so long as I can get hold of the imminent vinyl release.
Now, who wants to hear about the time Ozzy, Belinda Carlisle and me gate-crashed Venom’s Satanic picnic?
Platinum Al's Virtual Hot Tub 