BLACK FLAG – Damaged

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damagedAfter the release of the ‘Nervous Breakdown’ EP in 1978, Keith Morris, Black Flag’s vocalist, quit the band. Attempts at making a full-length LP were started and abandoned during the following couple of years and both Dez Cadena and Ron Reyes had a shot at being the band’s replacement vocalist. Things eventually fell into place after Henry Rollins got on board as full-time mouthpiece and larger-than-life frontman.

The first release featuring Rollins (and the band’s first full length), ‘Damaged’ was released in December 1981 on guitarist Greg Ginn’s own SST label. (The album was originally scheduled to be released on Unicorn Records with distribution from major label MCA, who’d already pressed the first run of the LP. However the label pulled out at the eleventh hour. Ginn decided to release the album himself on SST; this would lead to a long legal dispute which meant Black Flag did not release any new material until March 1984).

All of ‘Damaged’s music tracks had been recorded prior to Rollins joining. In fact, nine of the album’s fifteen tracks had been attempted during the aforementioned album sessions; in some cases – like ‘Police Story’ – some tracks had been recorded several times (for those who want to hear the earlier attempts of these cuts with Black Flag’s three previous vocalists, then the ‘Everything Went Black’ compilation should be required listening). From a hardcore punk perspective the album is musically very powerful, but it’s that power combined with the album’s unrelenting lyrical content which has made it a genre classic.

‘What I See’ presents the band at their most outwardly aggressive as Rollins, with a perfect delivery, rants over Chuck Dukowski’s distorted bassline. With his fantastic groove, Chuck forces the listener to pay attention as Rollins makes such stark claims as “Life’s cold / I want to feel it reach inside and turn my mind off / I don’t wanna live / I wish I was dead”. ‘Damaged I’ (a track which looks towards Black Flag’s later, slower material) is similarly oppressive as the band hammer out a seemingly never-ending grinding, monolithic riff as Rollins screams “I’m blind, I’m blind / I’m damaged!” in a tortured tone, befitting of the musical arrangement. His delivery is so convincing – the sound of anger at its purest form. Rollins sounds like man fit to explode.

Musically, the rest of the album concentrates on faster material. Lyrically, a lot of it is still pretty heavy stuff, for example: ‘Police Story’ recounts the city’s heavy handed police force and ‘Padded Cell’, as you’d expect, deals with feeling trapped (“Earth’s a padded cell, defanged and declawed / I’m living in hell, it’s a paradise fraud”). On the whole, ‘Damaged’ as an album, shows Black Flag in a far more uncompromising mood than suggested by their earlier recordings.

‘Six Pack’ and ‘TV Party’ present a far more lyrically lightweight band. ‘Six Pack’ celebrates the live-for-the-moment spirit of youth seen through an alcohol haze (“My girlfriend asked me which I liked better/I hope the answer don’t upset her”); ’TV Party’ is rather unsubtle swipe at the TV generation. With their three-chord, disposable arrangements, they revisit the basic punk roots of Black Flag’s earliest work. However, the guitars are still unmistakably the work of Greg Ginn, as he occasionally breaks into atonal guitar leads. The gang vocals on ‘TV Party’ represent the album’s most trashy element, possibly designed with live performance in mind. Despite feeling more fun on the surface, both songs possess a nihilistic spirit, in keeping with the rest of the material. The album’s only obvious positive vibe comes from ‘Rise Above’ which deals with finding strength and breaking free from society’s control.

Although the band would sound more confident and self-assured on the releases which followed, (even when the material wasn’t always great) ‘Damaged’ is the quintessential Black Flag album – a genuine hardcore punk classic. While most of it doesn’t sound anywhere near as threatening as it once did (many bands would take similar aggression to more extreme levels later), this album still retains an energy and DIY spirit which many punk bands aspire to. No self-respecting punk collection should be without one.

March 2010

IRON MAIDEN – Powerslave

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By the time this album was released in September 1984, Bruce Dickinson was settled in his place as Iron Maiden’s frontman, having replaced Paul Di’Anno over two years previously. He’d also proved to be a great songwriter, as evidenced by ‘Revelations’ (from the band’s 1984 album ‘Piece of Mind’). Nicko McBrain had replaced Clive Burr in December 1982 and he too seemed comfortable in his role as the new drummer. ‘Powerslave’ was the first album released by the band to feature the same line-up as the preceding offering, so it’s unsurprising the band sounded stronger and more confident than ever before.

Beginning with ‘Aces High’, the band sounds truly alive. Fast paced with Steve Harris’s trusty, galloping basslines, this track is an archetypal Maiden number, it tells the tale of a fight between British fighter pilots and the Luftwaffe during the Battle of Britain. Similarly inspired by true events, ‘2 Minutes To Midnight’ (a Bruce Dickinson/Adrian Smith co-write) features a lyrical theme about the Doomsday clock; specifically it’s reaching close to midnight after both the then Soviet Union and the USA tested H-bombs within months of each other. These two tracks were released as singles to promote the album and are among the band’s strongest songs and possibly explain why Iron Maiden are often thought to be more sophisticated than many of their contemporaries. ‘Back In The Village’ is a sequel of sorts to ‘Number of the Beast’s ‘The Prisoner’. While this album offers much better songs (notably in the songs which follow and the two singles), this song’s energy makes it stand up and demand attention. It’s not Maiden’s best song, but certainly not their worst by a long stretch.

The title cut shows a maturity rarely seen in Maiden’s previous work. Its Egyptian theme both musically and lyrically provide the album with something accessible and striking, with a stylish approach not traditionally associated with anything NWOBHM-related at that point. Both this number and ‘Rime of the Ancient Mariner’ push the boundaries of 80s metal into new horizons. ‘Rime’ is a thirteen minute epic: on the surface, all of Maiden’s previous musical signatures are here – most notably the galloping rhythms, Bruce’s unmistakable voice with its siren-wail, and a knack for story-telling within the songs. Between the twin lead guitars and sheer power, it features a slow, atmospheric mid-section featuring a reading from Coleridge’s poem of the same name. Maybe it is a little pretentious, yes, but you’ve got to applaud them for branching out from their tried and tested musical traits. It truly raises the musical stakes.

Very few albums are perfect; ‘Powerslave’ is no exception: Its main flaw is that it sags in the middle (or the end of the first side, if you originally had this on vinyl). Firstly, the instrumental number ‘Losfer Words (Big ’Orra)’ has a decent drum groove from Nicko, but as is often the case with instrumentals, this feels like filler. And secondly, okay, Bruce Dickinson may be a championship level fencer, but surely two songs about swordsmanship is one too many? While ‘Flash of the Blade’ (written by Dickinson) and ‘The Duellists’ (Harris) are musically strong, their themes of valour and honour seem to wear a little thin by the end – especially so, considering they’re sequenced next to each other.

Rather interestingly, given these potential weaknesses, I’ll still tell you that ‘Powerslave’ is my favourite Maiden LP (and has been since release) and with good reason: there are moments which are far more adventurous then Maiden’s previous couple of outings. I love the way they took a gamble and went for something really extravagant in ‘…Ancient Mariner’. Whether they knew they were on to something special at the time, I don’t know – but with hindsight it is pretty special, as this is an album which could be seen as being responsible for starting the progressive metal subgenre.

February 2010

MASS – Sea Of Black

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MASS

Despite this Boston based hard rock/melodic metal band forming in 1980 and releasing albums throughout that decade, they’ve never really gained much attention. They were inactive throughout the 90s, but returned at the beginning of the 21st Century and played live shows, which eventually led to a comeback album ‘Crack of Dawn’, released on Escape Music in 2007. I’ve been a fan of melodic and hard rock for years and have an extensive collection of cult albums, but somehow, Mass passed me by completely. This 2010 release – again released by UK based melodic rock label Escape – marks the first time I’ve heard them.

The opening track ‘Falling From Grace’ is probably the heaviest thing on offer as the verses really thunder, but this is counterbalanced by a very melodic chorus; this approach reminds me of the self-titled album by Heaven’s Edge (for those of you who’ve never heard that, their approach of melodic rock with guitar histrionics is almost unrivalled). During moments of this opening track Louis D’Augusta’s vocal approach can seem a little waily, but even so, it’s obvious right from the start he’s got a decent voice – although for me, it’s one which works best when played down a bit. ‘All The Years Gone’ slows things down and here, Mass are at their strongest: Gene D’Itria’s guitar riff hits a solid groove with a classic 70s rock vibe, but it’s Joey Vadala’s drum work which gives the track real power; his drum fills are more than reminiscent of a Bonham style, and due to this, it’s hard not to hear a Led Zeppelin influence.

The same heavy drumming is at the core of ‘All That I Needed’, its mid-paced stomping riff providing a base for one of D’Augusta’s more restrained vocal offerings (at least during the verses) and the guitar riff has a chuggier approach. You’d think given its chug and the heavy drums this song would end up sounding rather heavy handed, but at this stage in their career, Mass are clearly old pros and never overplay anything here. If you want things overdone though, look no further than ‘More Than a Friend’, a track which makes Firehouse’s ‘When I Look Into Your Eyes’ appear tough. In all honesty, this track’s four minutes made me feel queasy with its sickly sentiments, acoustic guitars and wailing. I like a rock ballad as much as the next man (provided that next man isn’t from a Norweigan black metal band), but this – in a word – is hideous. ‘Hear Me Now’ pulls out the acoustic guitars again, but uses them in an entirely different way. The contrast between the electric hard rock and these acoustics is fairly striking. The acoustic guitar remains clear in the mix after the heavy riffs make an appearance and are still used to create rhythm underneath a fairly aggressive guitar solo. This contrast, in fact, was one of the first things which struck me about ‘Sea of Black’.

‘Ashes To Ashes’ goes for a different tack again, in that the verses are guitar free. The drive here is provided by Michael Palumbo’s bass playing. His approach is very solid (and repeated listens of this album show him to be a decent player) and as such, the absence of guitars here almost goes unnoticed. When the guitars kick in, they are suitably heavy, replete with a decent amount of squeals. As with a few of the other tracks, it’s the drum work which provides this tracks greatest feature as, during a bridge section, Vadala goes for his best Bonham-esque fills.

‘Sea of Black’ is well produced and although musically it’s almost instantly familiar, Mass clearly have plenty of potential in their retro rock sound. Those who like hard rock with hair-metal touches and an occasional Zeppelin-ism should find more than enough entertainment here.

June 2010

RICK DERRINGER – All American Boy

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Rick Derringer has had a long career. From being a member of the McCoys (of ‘Hang On Sloopy’ fame), to sterling work with Edgar and Johnny Winter during their glory years, to releasing many solo albums, there’s plenty to enjoy. ‘All American Boy’, Derringer’s first solo outing from 1974 is one of his best (though I would argue that the first half of his solo career, up to 1980 is well worth investigation).

Kicking off with the evergreen classic ‘Rock N Roll, Hoochie Koo’ (Derringer’s best known solo recording), you’ll have a fair idea of where the next forty minutes is headed.
‘Joy Ride’ is a short high-gear instrumental. The drum sound here is excellent and while the overall effect is unashamedly 70s, this is the sound of a band of musicians at the top of their game. On the other hand, ‘Cheap Tequila’ is never a track I find myself eager to listen to. It sounds like it was designed as fun, but in the end, takes itself too seriously. It has a southern rock meets country feel and although jaunty, is never destined for classic status.

‘Teenage Queen’ is soft around the edges with a slightly west coast appeal. It’s typical of other songs Derringer released in this vein, but it’s still great listening, with beautiful vocals, subtle guitar work and nice orchestration to flesh out the sound. ‘Hold’ follows a similar pattern, again beautifully orchestrated, but the final product seems more polished, with a definite nod to the genius of Todd Rundgren. Definitely a contender for the album’s best track.

‘Uncomplicated’ is simple, stompy American rock, following a similar path to ‘Rock N Roll, Hoochie Koo’ and while ‘The Airport Giveth’ follows a similar formula to the Todd Rundgren inspired material, there’s something a bit less focused, giving it a slightly dated feel. Though somehow, possibly due to exposure to a fair amount of Rundgren, Carole King et al, I still quite like it. ‘Jump Jump Jump’ is pure genius, seeing Derringer explore a more spacious, bluesy style, though not up to the blues levels he’d go to after his early 80s sabbatical. For best results, check out the blistering live version of this from 1980’s ‘Face To Face’ LP.

The quirkiness of ‘Teenage Love Affair’ again goes for the same effect as ‘Uncomplicated’, but remains one of the rare times where this collection of songs misses the mark. ‘Time Warp’ is a driving instrumental clocking in at just under three minutes, though due to the intensity of the arrangement it feels longer. It sounds like the underscore for a car chase in a 70s cop film, merged with guitar riffs which tip the hat to ‘Heart Of The Sunrise’ by prog-rock behemoths Yes. ‘Slide on Over Slinky’ a pop-blues, the kind at which Derringer often excelled throughout the decade, is a welcome addition here.

‘All American Boy’ is a great solo debut, paving the way for other Derringer releases throughout the 1970s, most of which have something to recommend them. If you’ve enjoyed this and haven’t yet done so, check out 1980’s ‘Face To Face’: which although patchy, contains the aforementioned superb live take of ‘Jump Jump Jump’ and the wonderful pop of ‘Runaway’.

November 2007

FLEETWOOD MAC – Bare Trees

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bare trees

For most people, the history of Fleetwood Mac is divided into two distinct eras – the blues years with Peter Green at the helm (1967-70) and the California pop years driven by the talents of Buckingham-Nicks (from 1975).

After Peter Green’s departure in 1970, the band entered a wilderness period. To begin with, Jeremy Spencer took the helm. The resulting album, ‘Kiln House’ was a nasty affair – easily the worst in Fleetwood Mac’s catalogue – it’s only standout track being the haunting instrumental ‘Earl Grey’. Jeremy Spencer then went out for groceries and never returned. His replacement, Bob Welch, helped drive the band away from blues based material and towards the adult pop which would make them their fortune. However, his first album with the band –1971’s ‘Future Games’ – was instantly forgettable.
In 1972, the same line-up returned to the studio to work on a follow up. The resulting album, ‘Bare Trees’ was a marked improvement. In fact, several decades later, it still sounds decent.

With Danny Kirwan’s ‘Child Of Mine’ the album starts with best foot forward. Its uplifting mixture of California pop and guitar boogie is easily compared to Delaney & Bonnie, although with a tougher edge. As expected, McVie lays down a solid bassline, never flashy, and Kirwan and Welch indulge in top notch almost Allman Brothers style guitar interplay. Christine McVie’s organ work bubbles just under the surface. You have to ask why the band sounds so vibrant here, when on the preceding album exactly the same line-up sounded lost and tired? Maybe on ‘Future Games’ they’d not found their footing together…

Christine McVie takes the helm for ‘Homeward Bound’, a piano-led pop rock workout with punchy edges. It’s not quite got the finesse of her later songwriting, but here she proves that she’s more than a valuable addition to the band. Bob Welch turns in a great guitar solo, which at the end becomes twin lead with the addition of Kirwan. ‘Spare Me a Little of Your Love’ points further in the direction Christine’s writing would later take the band, with its almost perfect arrangement and plain emotion. ‘Sunny Side of Heaven’ is a gorgeous instrumental piece, with all members putting in top performances – particularly of note is Kirwan’s understated lead work. It would have been so easy for him to overstep the mark and play something flash, but he opts for lyrical soloing, creating a beautiful end result.

‘Bare Trees’ also features less immediate material. ‘Danny’s Chant’ features Kirwan in aggressive mode. At the beginning, he plays a spiky guitar riff through a wah-wah pedal leading into a groove with heavy accompaniment from the rhythm section. With hindsight, I wonder if he’d already begun to feel out of place in the band, with Welch’s material becoming stronger. ‘Dust’ features some nice vocal harmonies, but ultimately, the end result is slight.

‘The Ghost’ is softer, with its slightly jazzy tendencies. A strong chorus shows the potential behind Welch’s songwriting in a way that little of ‘Future Games’ ever did. I often hear an influence from Stephen Stills in Welch’s best work with Fleetwood and this is no exception. His other key number here, ‘Sentimental Lady’ (later re-recorded for his ‘French Kiss’ solo record), is little more than easy listening singer songwriter fare. The title cut offers mid-paced pop that’s fine, but now sounds like the most dated thing the album has to offer. Again, there’s some decent interplay between Welch and Kirwan, so at least it’s got that going for it.
The album closes with a home recording of an old lady reading her own poetry. Apparently Mrs. Scarrott lived near the band’s communal home. I’m not sure why they chose to include it – maybe it was just in keeping with the hippie spirit of the times…or maybe she kept making them jam.

Like most of the albums Fleetwood Mac recorded during the first half of the 70s, ‘Bare Trees’ could never be called classic in the traditional sense, but has more than enough to recommend it.

January 2010

Posted in 70s