The extended periods of pandemic lockdown in the UK took their toll on most bands, but for Kent-based blues rockers Big River, that period of instability between 2020 and ’21 was particularly tough. Despite releasing their debut album ‘Redemption’ in 2019, they were still heavily reliant on regular live work to keep up momentum. Without access to venues and audiences, they were in danger of losing traction. The band suffered a further knock back in March 2021 when it was announced that long-serving vocalist Adam Bartholomew would be leaving the fold. For many, his big presence and big waistcoats had been a vital part of the Big River live experience.
Tag Archives: rock
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.
THE RIGHT HERE – Reckless Kind / Molly
They aren’t especially well known in the UK, but The Right Here have been releasing enjoyable rootsy rock records since 2012. Capturing a sound that falls somewhere between Springsteen, The Gaslight Anthem and Nato Coles, the blue collar grubbiness within their work is laid on pretty thickly, but their gifts for knocking out riffs and hugely broad melodies makes their work widely appealing.
Their 2021 release ‘Northern Town’ was picked up for distribution by Rum Bar Records, placing the band in great company alongside Nato Coles, Watts and Nat Freedberg, A well rounded record, it placed the Soul Asylum-esque ‘Buy Me Another Round’ and ‘Every Once In A While’ alongside the punkier ‘Good Luck Trying’ and the countryfied ‘Drinks & A Dress’, giving the album a varied yet consistent heart.
BAR II – How I Fake It EP
Following on from their ‘Let You Down’ single in 2021, Belgian rock band Bar II’s ‘How I Fake It’ EP features a couple of their best recordings to date. Its two tracks are centred around some fairly chunky riffs, but despite being promoted as a “stoner duo”, the best moments branch off into an even spikier sound, often showcasing the musicians in a more inventive way.
ARDOURS – Anatomy Of A Moment
In 2019, Ardours’ debut album ‘Last Place On Earth’ mixed heavy edges with darkwave synths to create a relatively contemporary sound. In taking the gothic and using that to underscore a modern take on melodic rock and applying a touch of electronica very naturally, the band’s sound was rather big and broad, but for lovers of classic Lacuna Coil – and, to a lesser degree, Evanescence and their ilk – the album certainly had…something. The heavier moments provided former Tristania vocalist Mariangela Durmatas a much denser canvas to work with than before, as evidenced during the title track, but she was more than up to the task in numbers like ‘Truths’ and ‘Last Moment’, the band showed an affinity for applying a classic sounding melodic hook to something a little more alternative – at least in a retro sense – and with ease. It’s fair to say the album didn’t suit everyone’s tastes – it certainly wasn’t aimed at those who felt that, as a label, Frontiers Records should only be releasing music that sounded like Survivor and Night Ranger throwbacks – but it showed a lot of promise.