The third album from Michael Thompson Band, 2019’s ‘Love & Beyond’ was a bit of a disappointment. The material showed that Thompson was still a fine guitarist and in AOR terms it featured a few strong songs, but it just didn’t flow too well. An over-reliance on short instrumental links proved distracting and each one of those sounded like a half finished musical idea thrown onto the record in order to bulk it out. It wasn’t a patch on 1989’s ‘How Long’, but then, it was never going to be as good as that. In AOR terms, that record is a very hard act to follow.
Jorn Lande is no stranger to cover versions. In 2006, he released an album’s worth of covers in tribute to the legendary Ronnie James Dio. Ten years on, he released ‘Heavy Rock Radio’, a tribute to some of his other favourites and influences. Unfortunately, ‘Heavy Rock Radio‘ wasn’t very good at all. A couple of tunes might’ve just about passed muster in terms of hard rock reworkings and – predictably – the obligatory Dio-related song fared quite well, but overall, it was a bit of a turkey. Making things heavier doesn’t necessarily make things better (unless you ask a particularly unadventurous metalhead) and in a rocked up cover of ‘Hotel California’, Lande truly hit rock bottom by giving the world a reggae metal hybrid that no-one with ears deserved to hear.
Jorn obviously had fun making that record – terrible as most of it might have been – and he enters his fifth decade as a recording artist with a second volume of reworked favourites. ‘Heavy Rock Radio II: Executing The Classics’ is an improvement on its predecessor, but then, in many respecrs, it would have struggled to have been worse. It’s actually about fifty percent better, but still makes for an incredibly patchy record.
Next month, thrash metal titans Kreator will release a new live album celebrating their October 2018 headline show at London’s Roundhouse.
The appropriately titled ‘London Apocalypticon – Live At The Roundhouse’ will be released on a variety of formats. The standard retail edition includes a blu ray and CD soundtrack of the full show and promises to be as good as Nuclear Blast’s similar Overkill live set from 2018.
1966 was very much a turning point for pop music. Many acts that were considered beat groups had started to branch out and to think beyond live performance. With orchestral tracks like ‘Eleanor Rigby’ and ‘For No One’ Paul McCartney pushed forth the idea of baroque pop. John Lennon, meanwhile, was experimenting with tape loops and early forms of electronica. His ‘Tomorrow Never Knows’, closing The Beatles’ 1966 masterpiece ‘Revolver’, is often considered to be at least partially responsible for the birth of true psychedelia. While it’s obvious Lennon’s sound collage took a massive leap towards the mind expanding sounds of ’67, many other bands were sowing the seeds for change a little earlier. As early as 1965, The Kinks pushed boundaries with their single ‘See My Friends’ – a mix of jangling sixties pop and raga music – while even the Dave Clarke Five had occasionally sounded a bit…out there for the era with an increased use of reverb. While the roots of psychedelia could be argued over almost indefinitely, The Yardbirds’ ‘Shapes of Things’ – a fuzzy mish-mash of beat-pop and soft druggy haze – pre-dates the release of ‘Revolver’ by several months and is very much in the mould that would come to be known as freakbeat. An important branch of the psychedelia family tree, freakbeat took the bones of the sixties sound, loaded it with fuzz and wasn’t shy in exploiting the left/right split for stereo head trips. In 1966, this was very much at the forefront of emerging alternative sounds.
One of the last things anyone would have expected in the 90s was the return of Traffic, the 70s rock band featuring Steve Winwood and Jim Capaldi. Arguably Britain’s closest answer to Grateful Dead, brilliant as they were, Traffic’s lengthy jazz-rock derived jams belonged squarely in the early time frame where most of them were created. The likelihood of a Traffic comeback became increasingly unlikely once Steve Winwood’s pop-oriented solo career made him a massive star in the 1980s.