Category Archives: Album & EP Reviews

MORITZ – Undivided

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I first became aware of Greg Hart in the mid 90s when he teamed up with ex-Ya Ya vocalist Sam Blue and Airrace’s bassist Toby Sadler to form the short lived band GTS. Their debut release ‘Tracks From The Dustshelf’ contained a few great pieces of Brit AOR, though I have to confess, as good as the album may have been, I much preferred the unfussy approach of their original demo recordings. I backtracked and checked out one of Greg’s previous bands, If Only, subsequently finding myself completely underwhelmed, despite having read good reviews.

A few years previously, Hart was the guitarist with Moritz, a Brit-AOR band who were contemporaries of Airrace, FM and Virginia Wolf. They released a couple of self-released singles and played regular shows at London’s Marquee, but failed to gain any record label interest. Various Moritz recordings dating from between 1986-88 were belatedly issued on a compilation album, ‘City Streets’ in 2008.

Following the cult success of ‘City Streets’, the original members of Moritz – Pete Scallan (vocals), Greg Hart (guitars), Mike Nolan (guitars), Ian Edwards (bass) and Andy Stewart (keys) – decided to reunite. Augmented by Mick Neaves on drums, and delivered long after their heyday, ‘Undivided’ is the band’s first full album.
It may have been delivered over two decades later than planned, but fear not, this album features all the hallmarks of mid-80s melodic rock and the original Moritz sound, with no other influences creeping in. While musically, it’s still has much in common with Moritz of old, fans may notice that Pete Scallen’s vocals aren’t quite as strong as they once had been, now sounding a little rougher around the edges due to the ravages of time.

The title cut is one of the strongest examples of Moritz’s songcraft, as they combine a hard hitting riff with huge chorus vocals. The mid-paced stomping style shows obvious influences from Survivor and while the chorus could have been a little more interesting, big backing vocals lend its main hook plenty of punch. The mid-paced power ballad ‘Should’ve Been Gone’ is top notch, making good use of choppy guitars and very 80s keyboard sounds. It’s almost certainly something you’ll have heard time and again (and quite often on songs called ‘Don’t Walk Away’), but Moritz more than give it their best shot. While the production is a little homegrown and Pete Scallen’s lead vocal style isn’t quite as smooth as some, the overall arrangement is classic AOR, and the featured guitar solo is superb.

‘Who Do You Run To’ features another great chorus featuring harmony vocals from Jackie Bodimead (ex-Girlschool) and acoustic guitars overlaying the electric rock elements. Listen beyond the obvious hook and you’ll also notice that Andy Stewart’s piano work is rather busy, giving an already fairly cluttered number an extra layer; when all thrown together it works rather well. I wish I could be as enthusiastic about the album’s second power ballad ‘Can’t Stop The Angels’, which aside from a superb guitar solo, is incredibly stale. Scallen over-sings constantly throughout a rather cheesy number and as a result everything feels overdone. Swathes of keyboards open ‘World Keep Turning’ and continue to play a huge role as they pump their way through a great number which utilises the best elements of mid-80s melodic rock. It’s another number which brings a decent chorus and although it’s very by-numbers, it’s one which captures Moritz in good form. a great chorus. Against the keys, the rhythm section keep things grounded and the guitar riff is suitably crunchy. The hugely pompy ‘Power of the Music’ is also recommended listening, with its huge vocal arrangement and pumping bass, settling somewhere between Boston and Angel for a number which gives a knowing nod to AOR of the 1970s. Despite harbouring great feel good intentions, Scallan’s vocal style and a rather cutting solo make the track a little less smooth than its main influences, but overall, it’s a very tight performance.

Vibrato-led guitars step to the fore for ‘Can’t Get Away’ – the album’s only cover tune. Written by Laurence Archer, the song has a history, having first been demoed by Phil Lynott in 1984 (recordings of which exist in almost unlistenable quality). It appeared regularly in live sets by Lynott’s Grand Slam (of which Archer was a member), but did not get recorded properly until 1986, when it finally appeared on Archer’s 1986 solo release ‘LA’. Listening to that recording, it’s clearly a great song, but is marred somewhat by Archer’s woeful vocal performance – he growls and croaks his way through its four minutes, killing any spark it may have had. Thankfully, Moritz give ‘Can’t Get Away’ the kind of treatment it really deserves: the guitar fills during the verses are perfectly balanced by some top keyboard stabs and the guitar solos (Nolan and Hart, bother differing greatly in tone) are a definite high point. Scallen’s vocal performance runs rings around Archer’s, though undoubtedly, it still doesn’t have that charisma it could have had, if only Lynott had recorded a definitive version. It’s pure speculation, though. Although most of Moritz’s own songwriting is okay (barring the pretty ropey ‘Same But Different’), in terms of arrangement and hook, this track is a cut above – a really classy example of 80s melodic rock.

Aside from their take on ‘Can’t Get Away’, you won’t find anything here from Moritz that could hold a candle to ‘Can’t Stop Loving You’ or as infectious as the ‘Hearts On The Line’ demo from their ‘City Streets’ release. However, it still contains some decent – albeit old school – rock tunes. It features a few clunkers too, but when the album’s good, it hits its mark. On the negative side, it has the sound of a polished demo and there are more than a few occasions I really wished they had a different vocalist. It’s unlikely to make Moritz stars in the genuine sense, but for die-hard AOR buffs – particularly those who witnessed the band live back in the day – ‘Undivided’ is a welcome release. As good as this may be in places, though, we can only but wonder how much better Moritz would have sounded, had they been given the opportunity to record for a major label and get an album released back in ’87…

January 2011

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THIN LIZZY – Vagabonds Of The Western World

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By the end of 1972, Thin Lizzy had attracted a cult audience, but also had two albums under their belt which were commercial failures. Early 1973 bought a change in their fortunes when their reworking of the Irish folk song ‘Whiskey In The Jar’ (released as a single in November ’72) became a huge hit. Eventually reaching #6 in the UK chart, it gave them massive exposure on radio and even scored them an appearance on ‘Top of the Pops’. The song also became a German top 10 hit and a number one single in Ireland.

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DAG – Righteous

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It was the summer of 1994. It feels like yesterday, yet it feels like so long ago. One of my best friends had just opened a record store. I met new people, some of whom I still think about now, some of whom have been forgotten. It was there I met my girlfriend (I don’t remember that though; and she wouldn’t become my girlfriend until over a decade later). And it was there, I first heard this monster album by Dag. It became an in-store favourite for a long time.
So, why is that relevant? It’s relevant since this is one of those albums which always makes me think back to the first time I heard it…

Looking like Pearl Jam, replete with plaid shirts, Dag found themselves signed to Sony at the tail-end of the alternative rock boom. At that record store, we thought we knew what to expect as we put the disc in the player. We were very wrong. Instead of retro riffing, we got funk. Lots of funk.

Although featuring a few harder edges than than the 70s funk played by black musicians for largely purist funk audiences, the Parliament-Funkadelic influences are still very much there on this album – and not too sugary. In that respect, Dag went against the then current mainstream and opted for retro of another kind…and they were heroes for doing it – at least in that record store. As far as I know though, the album buying public remained apathetic.

Two of the album’s highest points, ‘Sweet Little Lass’ and ‘Your Mother’s Eyes’, feature a swagger and grubbiness on loan from Prince and George Clinton. Throughout the album, bassist/vocalist Bobby Pattison performs like a hero, but his brilliance is particularly evident during these two songs: his vocals are soulful; his bass playing has a solid groove and strong presence. ‘Sweet Little Lass’ is driven by a slightly distorted, dirty rhythm. Its grinding heaviness is instantly captivating and should appeal to listeners who enjoy the pre-disco vibes of Parliament and Funkadelic. ‘Your Mother’s Eyes’ is a little lighter, although still heavy on the funk. Pattison’s vocals are lighter too and the end result provides a decent snapshot of Dag’s best traits – even with a keyboard making odd squonking noises throughout.

There are moments when I’ve been reminded of Maggie’s Dream (another favourite which somehow fell through the cracks), especially on tracks like the wah-wah drenched ‘Home’ where the funk is still very much at the fore, but rather more subdued than the Clinton-isms displayed elsewhere. ‘Lovely Jane’ is closest in spirit to Jamiroquai (who, of course, were million sellers in the UK with their Stevie Wonder obsessed acid-jazz-funk grooves), but even Jamiroquai, in turn, would have been at odds with the then-current musical scene. Dag employ more guitar work in the overall mix than you’re likely to find on an early Jamiroquai or early Brand New Heavies disc. In fact, the track features a blistering guitar solo, which is surely another aspect culled from Parliament and ‘Maggot Brain’ era Funkadelic…after all, they were never shy of using a guitar to add some serious chops where necessary.

The title track has a wah-wah cop show style guitar played against parping horns (making their first obvious appearance) and it’s hard to hear it without imagining seventies blaxploitation movies about coke-fuelled law-enforcers with huge facial hair. The funkiest thing on the album (and possibly one of the funkiest things ever recorded) is ‘Plow’, which revisits a dirty bass and solid groove – but the real star is Doug Jervey, whose clavinet work really carries the song and gives an obvious nod of approval to Stevie Wonder. Fantastic stuff. ‘As’ features a James Brown horn sound and a groove he might have enjoyed during his Popcorn years, although far looser and not carrying the intensity he may have managed. Throw in an edgy horn solo and you’ve got Dag at their most sassy. Play this before or after ‘Plow’, then repeat as often as is necessary for best results.

The album only carries one dud and even then it’s only the high standard of the other stuff which makes it so. ‘You Can Lick It (If You Try)’ is more Prince meets Morris Day than anything. Although solid, if there’s a contender for “most likely to get skipped track”, this is the one. The music is straight out of one of Prince’s “romantic scenarios”, and although the lyrics aren’t anywhere near as suggestive as his one-time dirty mind (pun intended) could muster without trying, it’s the high vocals which make this one a little grating if you’re not fully prepared.

In short, though, you need ‘Righteous’ as it’s, uh, righteous. It should be cheap somewhere by the time you’ve finished reading this.

September 2007/July 2010

BEN FULLER – Aquarian Son EP

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Ben Fuller believes that every place he visits and every person he meets has a story and that visiting new places fills him with new energies he puts into music. It’s likely it’s that kind of wandering spirit, hippie ethos which gives his debut EP an upbeat vibe.

‘Ashes’ opens the EP with a 4/4 semi-acoustic workout which is musically strong. While the music is great (incorporating elements of Ryan Adams and the many other Americana-pop singer-songwriters and bands out there) and Fuller’s song writing seems to be built on solid foundations, his vocal is an acquired taste. There’s something about it which seems like a product of the studio – an unnatural shininess detracts from Fuller’s performance. Something which should have a natural sound feels a bit too “perfect” and in doing so has lost a lot of heart. ‘Handsome Lover’ offers a decent slab of pop/rock with a tougher edge than most of the EP; the lower end of Fuller’s vocal range steers away from the previous irritation. It’s hard not to listen to it and not be reminded of Jakob Dylan and The Wallflowers, which, as most people know, is never a bad thing.

Although slightly slower, ‘Favourite Song’ hovers somewhere between the two styles of the previous songs. The chorus retains the decent punch and the verses have a gentle feel. With the help of its decent-ish chorus, this should have been a highlight, but Fuller’s voice isn’t that great here – as with the opening track, it sounds too clean; almost a little cartoonlike. I’m still unsure as to whether some studio trickery has been employed… There’s always a possibility his natural voice carries an unnatural timbre, of course – look at Paulo Nutini. Actually, let’s not.

Musically, ‘Inside Out’ is a great example of jangly, slightly retro pop – the kind Counting Crows are capable of, that is, on the rare occasions they’re not wading knee-deep in an overly wordy mope-athon. The ringing guitars and an unfussy drum rhythm keep things buoyant and the track has enough peaks and troughs to stop it from ever becoming stale. Once again, though, Fuller’s vocal style has a quirkiness which may not always appeal, but that’s easy to gloss over when everything else is decent.

As a sort of tribute to Fuller’s roots, on the surface, ‘California’ carries a chirpiness which strives for that perfect radio hit for the summer and in doing so it’s effective. Usually, I’m not a fan of the almost beach styled pop, but thanks to a simple chorus and a great guitar part, it manages to be a winner. However, if we look at that simple chorus a bit closer, this ode to California doesn’t necessarily seem to be all together positive. It appears to be a statement of how California thinks of itself as above others: “We don’t want nobody, we’re California!” It’s infectiousness ensures this is memorable long after listening, making it one of the EP’s strongest cuts.

‘Aquarian Son’ occasionally has a poppier edge than a lot of other stuff of a similar ilk and Fuller’s voice can be incredibly irritating at times. However, largely due to Fuller’s knack for writing uncomplicated melodies and having a decent band in tow, most of the songs really stand out. While it’s not as introspective as some of Ryan Adams’s gentler works, it’s not hard to imagine that some of his fan base could find something to latch onto while listening to this EP; or maybe if you’re a big fan of the lighter moments of Train’s work (most obviously their ‘Save Me, San Francisco’ album) this will have some appeal.

June 2010

WATTS – On The Dial

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Named after the Rolling Stones’ drummer, Boston quartet Watts make a sound that’s trashy, yet tight. The chief influences behind their sound are The Faces, mid-period Replacements and (unsurprisingly) 1970s Rolling Stones, so you’ll know instantly what they sound like. Dan Kopko’s vocals have a slightly gravelly edge that’s well suited to their four chord, cranked up rock ‘n’ roll, and while the main ingredients of their sound have been heard time and again from similar outfits, Watts are a band more than worthy of your time.

After a great drum and guitar intro from Johnny Lynch and John Blout, ‘Fight Song’ grabs the listener with its husky vocal and spiky guitar riff during a two-and-a-half minute display of sweatiness which recalls the best Supersuckers material, before they insisted on playing country music. Throw in an angry rallying cry of “This is not a war I believe in” and ‘Fight Song’ becomes a number which captures Watts at their best, exuding a dirty rock ‘n’ roll spirit. Their Stones fixation comes to the fore on ‘Dancehall Days & Nights’ where the lead guitar work creeps farther into Keith Richards territory, with a crystal clear twang ringing out above the grubby riff. It may not be an original sound, but between the riffs and chorus (with great backing harmonies from guitarist John Blout) Watts really come alive. A similar swagger carries ‘She Wants To Rock’, which features Blout stepping up for lead vocals. Also fantastic is their cover of ‘No Secrets’ (originally by Aussie rock band The Angels aka Angel City). A song which sounds almost tailor made for Watts, its infectious chorus captures Kopko and Blout in a moment of vocal unison, while its swaggering chords really hit the spot. ‘Afterburn’ features a couple of the album’s best performances: between the spiky riffs, John Blout’s guitar solo rips from the speakers and, here, Kopko’s raspy vocal style sounds absolutely at home on another number which occasionally nods at other late 70s Aussie rock influences.

There are a couple of moments where Watts slow things down. ‘Don’t Mind’ has a slightly darker vibe, but still with the emphasis on great garage rock. Although not one of ‘On The Dial’s more instantly appealing numbers, it has a solid arrangement – with some of Johnny Lynch’s drum work being particularly appealing. ‘The Times’, meanwhile, is a great showcase for key changes and backing vocals. With a relatively big hook and bar-room vibe, it’s not especially sophisticated, but you wouldn’t want it to be. ‘Girls On Holiday’ is slightly quieter than a lot of ‘On The Dial’s other songs, but a ringing guitar and great chorus are on hand to provide a couple of great hooks. The weak point here is undoubtedly Blout’s guitar solo where he noodles up and down the fretboard without breaking into anything important – but to make up for that, you could always spin ‘Afterburn’ again!

The songs aren’t too varied, but the production values are great for a self-released disc (albeit slightly too much in favour of mid-range and treble aspects, but even so, the sound suits the music) and there are no obvious duds among the thirteen numbers. Watts are unlikely to win any new converts to the trashy rock ‘n’ roll cause, but for those who enjoy this style of music, ‘On The Dial’ is worth investigating.

Visit Watts here.

December 2010