MONTROSE – I Got The Fire: The Complete Recordings 1973-76

1973 was a fantastic year for rock music. Pink Floyd released a world beater with ‘Dark Side of The Moon’; Led Zeppelin offered ‘Houses of The Holy’ – one of their most varied and adventurous works to date – and Queen introduced the world to their mix of pomp and pop with a confident, if flawed, first album. With other superb albums by Paul McCartney & Wings (‘Band On The Run’ and ‘Red Rose Speedway’), two great works from Elton (‘Goodbye Yellow Brick Road’ and ‘Don’t Shoot Me’), two from future megastar Bruce Springsteen, the Stones’ branching out on ‘Goat’s Head Soup’, and Yes disappearing up their collective backsides on ‘Tales of Topographic Oceans’, the year offered the discerning music fan something interesting at every turn.

Somewhere among the noise, US hard rockers Montrose made their breakthrough. Their self-titled debut album is as powerful as the Van Halen debut from ’77, with riff after riff on a filler free, half hour slab of plastic. As raucous as New York Dolls, and as groove laden as the best Johnny & Edgar Winter tomes, decades on, it remains a near perfect example of American hard rock. In the UK, neither Montrose or their debut album get talked about as often as they should be, but ‘I’ve Got The Fire’, a 6CD box set from Cherry Red certainly aims to change that by shining a massive light upon an all too short time at the top, bringing together pretty much everything the band recorded during a very prolific four years.

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X-DRIVE – Get Your Rock On

CD400_inSpearheaded by unknown guitarist Jeremy Brunner, X-Drive is a hard rock project that celebrates 80s melodic rock in a particularly unashamed and brazen fashion. Joining Brunner on this particular journey are ex-White Lion bassist James Lomenzo, Montrose vocalist Keith St. John and Midline drummer Fred Fischer. They say you can’t always judge a book by the cover, but this band’s general style should be obvious after one look at their dubious choice of album sleeve. It’s not as bad as Montrose’s staggeringly awful ‘Jump On It’ – a sleeve that clearly inspired the end result – but it’s pretty unnecessary.

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