In some ways, Tasmin Archer’s work seems like an odd choice to be given the priority box set treatment. For many years, her best selling debut ‘Great Expectations’ was somewhat of a charity shop staple and, indeed, the original album has often obtainable for little more than a few copper coins on the internet’s second hand market. In addition, Archer’s time at the top seemed so brief when compared to some of the other pop heroines of the age. Then again, perhaps Archer’s fleeting moment of genuine stardom makes her the ideal candidate for such a reissue package. For most, she’s only really known as the lady who sang ‘Sleeping Satellite’ – a soul-pop #1 hit that seemed to take on an omnipresent annoyance – but as this set shows, she wrote and recorded better songs during her first few years of stardom. Much stronger and more interesting material than her once hugely popular hit would have you believe.
In the 90s, Semisonic scored a few massive radio hits on both sides of the Atlantic. Best remembered for ‘Secret Smile’ (an okay pop-rocker that seemed to take on an almost omnipresent status for a time) and the superior ‘Closing Time’, they had more than their share of fans, but much like the similarly adult oriented Dishwalla and Tonic, it seemed hard to imagine them as anyone’s all time favourite band.
For a lot of rock fans, Glenn Hughes first came to prominence when he joined Deep Purple in 1974. In the few years leading up to that big breakthrough, he’d spent time working as bassist/vocalist with British rock band Trapeze. Although not big sellers, their first two albums were solid affairs, that showcased some talented musicians. 1970’s ‘Trapeze’ (produced by Moody Blues man John Lodge) presented a five piece band indulging in 60s freakouts and although enjoyable in its own way, almost felt dated by the time of its release in the May of that year. With Black Sabbath’s debut (released three months earlier) opening up new avenues for rock and the release of Deep Purple’s ‘In Rock’ literally a few weeks away, it was clear that Trapeze already sounded like yesterday’s men. By November, Trapeze had undergone an overhaul in both line up and sound and for their second album,‘Medusa’, the band’s core of Glenn Hughes (vox/bass), Mel Galley (guitar) and Dave Holland (drums) had reinvented themselves as a hard rocking power trio, cranking riffs in a style that often sounded like a tougher version of Free. With the previous hazy psychedelia having morphed into something harder and clearer, Hughes’s vocals were allowed to truly soar for the first time. A solid album, ‘Medusa’ showed a band who were truly on their way, but the best was yet to come…
When Hell In The Club released their debut album back in 2011, it was almost impossible not to be impressed by their retro sound. The Italian rock band truly went back to basics, borrowing riffs from early Skid Row and Motley Crue. By coupling those with anthemic choruses inspired by early Danger Danger, they obviously realised that a job well done would trump any originality at every turn. The result was an album with hooks so massive, it couldn’t fail to win over fans of glammy hard rock with a party attitude. The band worked the same formula for another three albums over the next six years, and although this never resulted in any huge sales, the routine appearance of their records was to the delight of their fan base. Despite changing musical fashions in the rock world, there was still clearly an audience ready to embrace the sounds of their youth…and with open arms.
Now twenty years into their career, skate punks Chaser sound as blistering as ever on their 2020 release ‘Look Alive’. Although only a two track 7” release, its pair of songs acts as a sharp reminder of the SoCal band’s blend of high octane riffs and social commentary driven lyrics. Released at a time when the world appeared to be falling apart – mass protests in the US suggest an urgent need for a change of government and a global pandemic pretty much wrote off the year – their messages of unity and togetherness are exactly what’s needed.