My Current Top 3…

I just thought I’d share details of three albums that seem to be dominating my CD player recently….

MUSTASCH - Latest Version Of The Truth

A superb example of heavy metal given a make-over for the modern day from a Swedish band with a ludicrous name and a contender for the most boring album cover of the year.

A real case though of not judging a book (or in this case disc) by it’s cover as there is some superb stuff on this album. Everything from traditional metal ala Priest in the mid-80s, to polished progressive metal to the best Bond theme that never was in Forever Begins Today.

My review of this will appear sometime in August at peacedogman.

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JOE BONAMASSA - Sloe Gin

Another contender for worst cover with it’s patchwork quilt effect I just reviewed this one over at the Classic Rock Newswire forum - you’ll find it in the CD/DVD reviews section.

A fine disc with some superb blues ranging from laid back acoustic numbers to hard hitting blues-rock in the shape of One Of These Days, a cover of the Ten Years After song. It has to be said that about 50% of this album is made up of Bonamassa’s interpretations of other peoples song but it’s the blues isn’t it?

He’s actually used Rod Stewart’s superb debut solo album as an influence for the disc and sequenced it to reflect listening to two sides as if it were vinyl - and it works superbly.

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THE ANSWER - Rise (Special Edition)

The best debut album in recent years just got better. After their recent support slot at the Aerosmith Hyde Park show Rise (reviewed on Rock Of Ages here) gets a re-release with a bonus 2nd disc featuring no less than 15 tracks.

A re-recording of debut single Keep Believin’, a superb cover of Sweet Emotion, a couple of acoustic work-outs of Rise tracks and some great live takes from the band’s trip to Tokyo.

Still highly recommended and available at around just £8 from many retailers.

BL

Armored Saint - March Of The Saint

Details :

• Year of release : 1984
• Label : Chrysalis CHR1479
• Review format : LP

The second American selection in our Anglo-American series and this pick by Mark at the Heavy Metal Time Machine was instantly more promising from my point of view. Predating the ‘hair-metal’ period by a good few years this 1984 release was another that has sat in my vinyl collection for a while but prior to this series had received few plays. A good excuse then to give it some attention.

I’d initially bought this following the recent CD reissue by Rock Candy Records. It’s strange I know, but when they release one of their reissues I tend to try and find the original album, and the notable thing for me with this release, aside from the amusing yet impressive cover art with the knights in front of a castle on the front and the modern-day biker knights with a now ruined castle on the rear, was the appearance of future Anthrax-frontman John Bush on vocals. Initially then, because of Bush’s presence, I was half expecting some low key thrash outfit that had impressed his future bandmates in the States yet escaped my attention in the UK. What I actually found on this album was different to that but much more to my liking.

The grand entrance of March Of The Saint opens side one turning from the marvellous pomp and ceremony of the introduction into a fast number with riffing guitars and a great vocal from Bush. Straight away I’m impressed by the sound of the band as it’s just well played heavy rock. Not quite as ‘earthy’ as much of the British heavy rock of a few years earlier and possessing a hint of flashier guitar influenced maybe by earlier US rock acts like Montrose and Van Halen but no less impressive. For those couple of early comparisons however Can U Deliver though owes much I think to the riff-masters Judas Priest. A great, chugging rocker with a bit of a commercial edge. The same is true with the faster and equally impressive Mad House. Another example of great heavy rock that if it wasn’t for the American accent of Bush could easily have come out of the nwobhm era.

Take A Turn reminds me a little of Def Leppard’s ‘Die Hard The Hunter’ with it’s gradual build up and switching between heavier chorus and more mellow instrumentation in the versus. Like ‘Die Hard..’ it’s also a fine song and after just four songs I’m impressed with this band and especially Bush. I’d known of his ability after seeing him live with Anthrax but he certainly sounds just as good fronting a traditional metal outfit as he did fronting the thrash-rockers.

More Judas Priest comparisons on the sides final song Seducer, and that’s not just in the title that wasn’t, but sounds like it could have been, a Priest number! The punchy riffs and even Bush’s delivery remind me of the Birmingham rockers and its also a track that raises once more the nwobhm comparisons. But given Priest were influences to so many bands either side of the Atlantic then perhaps this shouldn’t be a surprise.

Just as I hoped, side two brings more of the same. Mutiny On The World with it’s simple but memorable repeating chorus over a galloping riff is a cracking song, followed by the equally impressive although a little more technical Glory Hunter. The drums of the superbly named “Gonzo” lead the band through the next track Stricken By Fate which seems to remind me of Creatures’ era Kiss with it’s guitar parts, although once again their seems a nwobhm similarity and more specifically this time to Iron Maiden with the soaring guitar solo but I’m not exactly sure just how big an influence Maiden could have been to a US outfit by 1984?

Envy features the thudding drum intro once again, almost like ‘Gonzo’ had decided that with the album drawing to a close he should really make his presence felt. Not the best song by some way on the LP but one that once again, more definitely this time, brought Ratt to mind during the verse although yet again the solo brought Maiden/nwobhm comparisons. And those distinctive riffs of the early 80s raw rock movement are there again the excellent False Alarm. A real case of leaving the best until last it’s a song with some memorable time changes and excellent solo’s punctuating a great number.

Summary : A really solid, traditional heavy metal album given a hint of American flavour by the odd touch of flash guitar. Simple, effective and a great listen, there is little variation across the ten tracks on the album but then why should there be as it’s all good stuff. Already I’m motivated to search out more by Armored Saint and have consciously added them to the likes of Y&T, Great White and Dokken as early 1980s US bands that I need to collect. I wonder how many similar bands there are left to also discover?

If You Listen To One Track Listen To : False Alarm

Score : 3.5/5

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Marvellous promo video to “Can U Deliver“…

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A superb choice from Mark and I wonder if after the distinct difference of opinion we had over the ’style over substance hair metal’ of Faster Pussycat he knew that the more traditional metal of Armored Saint would be more to my liking? Looking at my record collection, I notice that most of the American bands I own more than one record by come from the early eighties rather than the late eighties, with Tesla and Cinderella perhaps being the main exceptions. The afore mentioned Y&T, Dokken and Great White were all active early in the decade (in Y&T’s case, well back into the previous decade too) whilst the mighty Twisted Sister translated well to the UK market too. Hopefully on the back of this review I’ll get some recommendations of other American early eighties metal bands to check out.

Now click over to Heavy Metal Time Machine to get the American view on Armoured Saint!

BL

Are you ready to Shake…?

Coming soon…

Celebrating the release of debut album “SHAKE” we dedicate next weekend to British melodic rock band and Rock Of Ages favourites SACRED HEART.

on Friday - read Dave Hunter’s review of the album…

on Saturday - read an exclusive interview with Sacred Heart writer/singer and general all-round good guy Paul Stead.

In the meantime, check the album out right here!

Bruce Dickinson - Accident Of Birth

Details:

• Year of release : 1997
• Label : Raw Power RAW CD 124
• Review format : CD

Some time back on Rock Of Ages I gave a pretty low scoring review to Bruce’s debut solo album “Tattooed Millionaire”. Since then, and prompted I must admit, by a post on the peacedogman community forum I’ve had this disc on fairly constant play rotation as indeed I’ve done on and off since release. An album that saw the legendary ex-Iron Maiden frontman set himself the task of regaining some lost ground by teaming up with Roy Z as co-writer for much of the album, group guitarist and producer and even coaxing old Maiden cohort Adrian Smith back into heavy metal action.

Right from the opening chords of Freak it’s clear Bruce has returned with an iron will to regain his mantle as metal’s number one frontman. A bass-heavy, thundering track with a big maiden styled chant for a chorus it marks a promising opening and bodes well upon first listen for an album that puts the experimentation and indeed hit-chasing of earlier solo efforts firmly in the past. A touch of prog in the shape of Toltec 7 Arrival provides a short introduction into another weighty slab of traditional, yet modern sounding metal entitled Starchildren. Another fantastic track that I can still remember raising my expectations and hopes greatly on first listen, it’s another clear statement that Dickinson, by securing this partnership with the so-important to this project Roy Z, wanted his spotlight back.

A softer start to Taking The Queen captures a little of the Seventh Son sound before Dickinson delivers a fine, detailed vocal over a backing that drifts effectively from heavier sections back to the more progressive acoustic parts. A fine melodic solo tops the track off nicely, whilst following number Darkside Of Aquarius shifts tack once more being another cracking heavy track boasting a great guitar riff behind the verse. A fine song to end an opening to the album penned entirely by Dickinson and Roy Z.

I say ends the opening because at track six, even now I can recall a delight I have rarely felt when listening to a new album for the first time. Road To Hell marks the first Dickinson/Smith co-write on the disc and for far too many years actually. This great song was, is and always will be pure ‘Iron Maiden’ to my ears. After so many years of under-whelming Dickinson solo albums and best-intentioned but ultimately equally disappointing Blaze Bayley fronted Maiden releases here is the track that gave the first signals that a Dickinson fronted Iron Maiden could become a reality once more. The intention to “out-Maiden” his old band that Dickinson had set his colleagues for this album is written all over this track and indeed is achieved pretty much in every way.

An atmospheric piano lead introduction marks the only Dickinson solo composition on the album, Man Of Sorrows. A slower tempo’d piece of progressive metal it does bare certain similarities to “Wasting Love” from “Fear Of The Dark” I think and is a little bit of a lull after the treat of the music so far but does have another fine vocal and a soaring guitar solo. Following this the title track Accident Of Birth proves the Maiden sound can be achieved by a Dickinson/Roy Z composition accurately as well as a Dickinson/Smith one and it’s another marvellous galloping metal track that just sounds so huge. The chorus is just one great big fist punching anthem that begs for a Donington crowd but alas is unlikely to get one now. “Welcome home - it’s been too long, we’ve missed you” go the lyrics. Prophecy indeed!

The Magician seems almost run of the mill following the previous number but is a decent enough rocker, as is the heavier Welcome To The Pit, the second and final Adrian Smith co-write on the album. The mid-tempo epic Omega returns us to progressive leanings once more and is a fine song that perhaps provides an early hint at the slightly different direction Maiden would subsequently take on reformation and indeed would have graced either of the final two Dickinson fronted Iron Maiden releases of the early 1990s. Finally Arc Of Space draws the album to a close with a twist. It’s an acoustic dominated number on an album of heavy metal highs yet even today rates as a poignant, classy and highly effective ending even if it does stray from the ‘metal’ template somewhat.

Summary : From the cover and the Derek Riggs’ created character, to the recruitment of Adrian Smith , the direction and sound of so many of the songs and the excellent production of Roy Z this album reeks of Bruce attempting to trump his old band. More importantly this also acted as a clear message I feel, that he wanted back into Iron Maiden although whether this was conscious or sub-conscious at that time is open to debate.

Even with such a fine album under his belt this didn’t allow him to get back to even mid-size venue’s in his homeland but it did demonstrate he still had the voice and more importantly had regained the desire to retread the heavy metal route and by 1999 Iron Maiden were back but as a six-piece with both Dickinson and Smith back in the fold. And hell, was I a happy man on that announcement?

To my mind then, because of what it sounded like and what it subsequently lead to this is one of the most important, and best heavy metal albums of the 1990’s. An album of true historical significance… to me anyway.

If You Listen To One Track Listen To : Road To Hell

Score : 4/5

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Here’s the promo video for the excellent “Road To Hell“…

and given it’s such a good album here’s a clip of “Accident Of Birth” too…

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BL

Kings Of The Sun - s/t

Details :

• Year of release: 1988
• Label : BMG 6826-2-R
• Review format : CD

Kings Of The Sun were an Australian band assembled around singer/guitarist Jeffrey Hoad and his brother, drummer Clifford Hoad. With Glen Morris on guitar and Anthony Ragg on bass I first became aware of their talents when they supported Kiss on the UK leg of the Crazy Nights tour. Even now I can recall the cocksure presence of Jeff Hoad as he lead the band through an impressive set of rock ‘n’ roll Aussie style. Indeed I’m still surprised that he never achieved greater fame either with this band or in his own right. The Kings managed just two more albums after this although the Hoad brothers are back in business again with the band “The Rich And Famous” so who knows, maybe success will come?

Serpentine, the opening track on the debut album is very much a scene setter for the whole shebang. A huge bar-room rocker with distinct similarities to Georgia Satellites albeit with a definite Aussie flavour prevalent in the introduction. The excellent Get On Up displays very similar attributes as well and despite being a little lighter boasts some great boogie-rock guitar through a damn catchy song. Track three, Black Leather achieved a fair bit of MTV Europe coverage as I recall when it was lifted for a single release over here and although it failed to produce a hit it is probably their best known track in the UK. The video featured a suitably clad female and gave Jeff Hoad’s faintly ‘Jim Morrison crossed with Billy Idol’ like demeanor a platform to deliver a cracking song with a huge singalong chorus, rocking solo and a slight AC/DC flavour about the stop/start lead guitar. A memorable song that really could have been a big live number for them yet I can’t recall them visiting these shores again after the Kiss tour.

Tom Boy is a similarly raucous rocker that takes an imaginary mid ground somewhere between fellow countrymen INXS and AC/DC with Hoad the frontman sounding a little like Bryan Adams at his rocking best here. Hot To Trot also boasts a distinct AC/DC guitar sound rumbling along behind the verses in classic “Young” style before a ballsy solo. This is followed by the accomplished yet again somehow typically “Aussie Rock” sounding Vicious Delicious marking the centre point of the album with another air-punching stomper.

Jealous changes the sound a little becoming somewhat deeper and more bass heavy with a riff that reminds me of ZZ Top circa Eliminator. Another big vocal performance by Jeff Hoad defines the track for me whilst the solo has a touch of Status Quo about it. Following this is the decidedly more commercially friendly and slightly slower tempo number Bottom Of My Heart. A song that initially gave the band it’s breakthrough and the sort of pop-rock that often seemed to crop up as backing music in the Aussie soaps it was catchy enough to secure the band a top 20 hit in their native country and has always been a favourite of mine. This could so easily have been a hit over here if it had a push. There’s a couple of examples of where Aussie pop-rock has captured the British ear in the past, (remember Mental As Anything or Men At Work a few years earlier?) and although this is slightly harder it’s not that far removed from either bands hit.

Cry 4 Love is the album’s nearest thing to ballad territory adding a bit more polish to the sound and slowing things down somewhat, with some lovely ringing guitar complementing the verses. Aboriginal drums and chanting herald a return to the rock ‘n’ roll and the superb Medicine Man before Bad Love ends the album in what has quickly become established as hard, heavy and flamboyant Kings Of The Sun style rock ‘n’ roll. It’s big, bad boogie rock that really demonstrates what great potential this band once had. In fact it’s not quite over as the CD adds a totally unmentioned track that my best guess titles Wild Cat before it finally ends.

So why didn’t they conquer the world, or even their own country for long? Well it seems the flamboyance and attitude of Jeff Hoad went a little too far on stage at Sydney’s Entertainment Centre when during a prize support slot backing Guns N’ Roses he chose to drop his trousers to the audience and bad-mouth the headliners! True rock ‘n’ roll frontman behaviour yet unfortunately it appears to have subsequently switched off the home market somewhat. From then on it was a downward spiral of decent but increasingly hard to attain albums and revolving door membership. A final support slot to Sammy Hagar in 1998 appears to be the final entry in the Kings story save for the odd reunion rumour that I guess will depend on the success or otherwise of “The Rich And Famous” venture.

Summary : Whatever the opportunities lost by this band this album remains a more than decent example of good time, bar-room rock ‘n’ roll done Aussie style and done well. There are a few excellent tracks on this album and whilst it won’t ever appear on any (or at least many) best ever lists it’s one of those albums I can just stick on and always enjoy. The likes of Serpentine, Black Leather, Vicious Delicious and Bad Love are great examples of this band ability to play great commercial rock whilst Bottom Of My Heart is a piece of pop-rock perfection. Unfortunately they seem to be another example of where attitude got the better of artistic ability but for me they provided a memorable live show and a debut album that will always get regularly played as a result.

If You Listen To One Track Listen To : Black Leather

Score : 3.5/5

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Promo video for the single “Black Leather“…

BL

Diamond Head - Borrowed Time

Details :

• Year of release : 1982
• Label : MCA MCL 1783
• Review format : LP

Picking an album for this series from the absolute plethora of releases emerging from the New Wave Of British Heavy Metal era was a tough call. If the end I plumped for this album by Diamond Head, one of the leading lights of the early 80’s movement, although the Stourbridge act never quite hit the heights that were expected of them and after this major label debut their star began to wane despite some well sponsored attempts to re-ignite it.

That sponsor of course was mostly one Lars Ulrich. Diamond Head had a major impact on him and therefore ultimately on Metallica who have assured the band’s name has remained well known thanks to some high profile cover versions of Head songs as well as featuring the band on their festival bills during ill-fated comeback attempts.

As for Diamond Head themselves however, they initially found success with a self-financed album that although never officially named is generally called “Lightning To The Nations” after one of the tracks, or indeed sometimes “The White Album” although another band lay a greater claim to an album of that name! Only 2000 copies were initially pressed in two 1000 issue runs and the success of the mail-order only release ensured a major label deal with MCA and this resulting album. Borrowed Time built on the success by selling well and reaching number 24 in the UK album charts upon release.

With the Metallica links now generally well known, it’s quite a surprise to hear just how much of a commercial sound opening number In The Heat Of The Night possesses. Sean Harris clearly owns a very good voice whilst guitarist Brian Tatler’s solo is impressive but this slice of typically British rock is not what you’d expect from inspirations to one of the leading protagonists of the “Thrash” movement. Having said that though, this kind of accessible classic hard rock is very much to my personal taste and kicks the album off nicely. Second number To Heaven From Hell starts off by strutting like Bad Company in their pomp, introduces some Schenker style guitar work of UFO era vintage and yet adds a lyric more suited to Dio-era Black Sabbath yet it’s deliver more in ‘terrace-chant’ style. It all sounds a little contrived to be honest, almost of a band searching for a successful sound or trying to appeal to everybody, yet the track is saved by a typically 80s style gallop later on. It’s a pity they hadn’t approached the whole song this way as the band sound so much better and more comfortable when playing heavier.

Call Me is another very accessible rock track track as well. I’m reminded of a couple of the lighter early 80’s British bands here as it sounds like both Shogun, especially the singer’s voice, and even Shy in places. I have read that it was felt that Diamond Head were one of the more commercial bands but this is almost too far from the ‘classic’ nwobhm sound of theirs I’m used to from compilations. Fortunately, a re-recording of Lightning To The Nations makes the major label release and proves once again what a fine song it is even if it’s a little more polished here than prior versions. One of the classic tracks from a rock era that is often described as ‘more enthusiasm than quality’ it demonstrates why Diamond Head were so highly thought of.

Side two of the album consists of just three tracks but each over seven and a half minutes in duration. Indeed title track Borrowed Time really is something of an epic as bass and guitar are gradually joined first by drums then by a superb Sean Harris vocal where he sounds inspired by Robert Plant. It’s not necessarily that he sounds like Plant though, more a faint hint of Immigrant Song style delivery about the verses. Some fine guitar work graces this track and whilst it doesn’t always follow the path you expect, overall it works as something a little different and ambitious and it’s that ambition and ability to stretch I think that brought Diamond Head much praise.

A bit of watered down Sabbath style riffery underscores the beginning of Don’t You Ever Leave Me but the song soon morphs into a more Zeppelin inspired direction as the band unleash their own chest-thumping love song. Maybe a little too long for it’s own good it does nevertheless show off some fine feeling in the guitar work without the lyrics ever moving far from the title. A nice bluesy ending is an unexpected but well played turn.

The heavy march, borrowing a fair bit from The Planet Suite’s “Mars The Bringer Of War” launches the final track and the one that has become their best known composition, the mighty Am I Evil? Another track re-recorded for MCA and musically, quite brilliant heavy metal. It’s a fine song that hammers along and reinforces my belief that the majority of nwobhm bands had at least one corker in their armoury. Pick just about any collection from a new wave band and your going to find at least one track that makes you sit up and listen. Of course with Am I Evil? Lars Ulrich recognised it’s finery too and the fact that it’s become a hard rock classic more thanks to Metallica than Diamond Head is perhaps the perfect example of luck never quite seeming to be Diamond Head’s side.

Summary : For a band cited as a major influence of the aforementioned Ulrich and Metallica this debut major label release isn’t as heavy as you’d expect, at least not the entire album. The two songs from the independent album remain the highlights but most of the other tracks are worthy of attention with Call Me being the only one of perhaps lower appeal. It’s fairly clear to see why they were lauded as one of the genre’s ‘most likely to breakthrough’ bands as at times some of this album is astoundingly accomplished for a young band but unfortunately they weren’t able to take it much further. Label influences may have been an issue of course and there is that thought there maybe there is just a little too much style diversity on this album when sticking more rigidly to the heavier stuff would have produced dividends. On the whole though a solid and historically important album that I play regularly.

If You Listen To One Track Listen To : Am I Evil?

Score: 3.5/5

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Diamond Head circa 2005 at Swedish Rock Festival performing “Am I Evil?”….

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It’ll be interesting for me to see what Mark at the Heavy Metal Time Machine thinks of this one. The ‘nwobhm’ has huge collectors appeal but not a huge general rock following and I’m interested to know a) has he heard Diamond Head before and b) is it what he expected of the ‘influence to Metallica’. The likes of Iron Maiden, Def Leppard and Saxon emerged from this era and made a name for themselves worldwide. Diamond Head unfortunately stuttered when many feel they could have become the greatest of them all. Indeed guitarist Brian Tatler still continues to release albums and tour with Diamond Head albeit as the lone founder member. A new album is due out soon and maybe this will be the one that finally sees them claim some spotlight again in their own right?

I have no idea at all what their reputation is like in the States and whether they are known as anything other than a small UK band who happened to have some tracks covered by Metallica?

Click over to Heavy Metal Time Machine to get the American view!

BL

Mostly Autumn - For All We Shared

Details :

• Year of release : 1998
• Label : Cyclops CYCL080
• Review format : CD

Well, fancy Bill setting me the task of reviewing the debut album of one of the bands high on my current favourites list to open my Rock Of Ages account. On that score you would think it was a walk in the park for a fan to write something favourable about this album, however on this occasion it might not quite be the case. You see, my love affair with Mostly Autumn didn’t start ‘til 4 or maybe 5 years after this release. Since then the band has gone through various line up and direction changes, which even included the reworking of many tracks on this album to the versions I enjoy both live and on CD so much today.

Opener Nowhere To Hide starts with the wind howling and a distant, seemingly drunken rendition of “Why Was He Born So Beautiful” before excellent harmonised vocals then some subtle acoustic guitars leads into the song proper. Bumped along by the bass guitar this up tempo song immediately shows where the Pink Floyd comparisons came from, with Bryan Josh’s vocals more than bringing David Gilmore to mind. Disappointingly though Heather Findlay remains, as she does throughout much of this album, in a backing vocals role. Porcupine Rain is neatly segued via acoustic guitars a mid tempo track with yet more great harmonies often between the singing and keyboards. Another mid tempo number, maybe slightly guilty of repeated vocals, though it does slide perfectly into the next song The Last Climb via the gentle ending resplendent with birdsong. Some excellent work from Mr. Josh, adds massively to the sound. If you think a guitars’ sound doesn’t have emotion then this will certainly turn your head.

Heroes Never Die follows, still one of my favourite tracks live, this is Bryan’s tribute to his late father. Passionate and emotive, the gentle beginning giving way to the heavier yet intricate guitar, Heather again splendid on the backing vocals. A truly superb piece. As has so much of their future material, there is a healthy dose of nature at work throughout this album dealing with the frailties of life and the certainty of death. Here, using heartfelt lyrics, which seem to paint an idealistic picture of happiness and serenity, they deal with an obviously personal loss so perfectly. Absolutely the stand out track on the album!

Rightly or wrongly I am going to lump Folklore, Shenanigans and Boundless Ocean into one. These are Folky Celtic influenced pieces, which in a live setting are highly entertaining, though to be honest, not really my preferred choice of listening at home. Included are Mostly Autumn’s arrangements of traditional tunes and for the main part work well, though as I said not really my cup of tea. It must be noted however many longstanding fans would prefer this to the rockier more progressive sound.

Steal Away is the first hint of the future, the one where Heather gets to lead the vocals, quite why she was so underused on this album is beyond me. In this ballad she showcases her talents, admirably accompanied at the start by quiet keyboards and flutes that gradually build to a fine finish.

Out Of The Inn is great fun. Beginning with a reading of Tolkeins poem “The Man In The Moon Stayed Up Too Late” a flute fest if ever there was one, strong folk influences at the start of this instrumental building to one of the rockier moments on here. Also hinting at the bands interest in all things Tolkein, which would later manifest itself in the “Lord Of The Rings” album. It’s worth noting that despite the heavy folk leanings of this piece, I actually find it very listenable, especially when the guitar takes up the lead.

The finale is The Night Sky and what a way to close the album. Just as the album begins with the sound of the howling wind so does it end. Another song that gradually picks up pace, guitar and violin cleverly working together, helping to create yet more wonderful atmospherics. As at the start the song ends with the instruments fading out ‘til we’re left with just the sound of the whistling wind to accompany our thoughts as we contemplate the beginnings of this excellent band.

Summary : Whilst there is still a lot worth talking about and certainly hearing, this album is not the introduction to the band that I would recommend, well not for your average rock fan anyway. I know Bill’s favoured medium for music is vinyl; this album for me would probably be a prime example of one where I would play one side and completely ignore the second side. It’s been a tricky task for me to admit I am not particularly keen on the whole of an album by a band I hold in such high regard. Then again, Mostly Autumn have so many different facets, there is something here for everyone, rockers folkies and progsters. This is the album where the Pink Floyd comparisons stemmed from. Which, whilst somewhat justified, it seems to have held the band back over the years. I could have drawn comparisons from any of the many other influences I hear in this, such as Blackmore, Genesis and Fleetwood Mac but the only tag, which seems to have dogged them, is one of Gilmore led Floyd. Of the 10 or so musicians on this album only Bryan Josh and Heather Findlay remain in the current line up, though Angela Gordon (nee Goldthorpe) who’s credited as an additional musician is now a full member of the band.

If You Listen To One Track Listen To : Heroes Never Die

Score : 2.5/5

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“Out Of The Inn” performed live in concert recently…

DH

One More For The Road

PARTNERSHIPS….

Rock music has always had it’s fair share of collaborations and ‘name’ partnerships. Lennon & McCartney, Jagger & Richards, Page & Plant, Holder & Lea… er Downe & Muscat ;-) …..

From now on, Rock Of Ages will also be written by a partnership. With the addition of long-time rock music aficionado Dave Hunter to the team the intention is that this site will pretty much does what it does now… but more of it!

I’ve know Dave for many years now and in that time we’ve pretty much discussed all areas of Rock music, agreeing on much of it, disagreeing on a fair bit too and have actually almost decided to suspend our Coverdale vs. Gillan debate for a while after religiously sticking to our respective corners since the argument began!

A fellow reviewer for “Get Ready To Rock” website, Dave’s own history includes concerts dating right back to the 70’s (the recent Chepstow Castle gig featured many a story of UFO live in the Schenker days!) and even a stint involved in the interviewing of a number of well known British Rock Stars for a sadly now defunct Local Radio Rock Show. Whilst there is significant overlap in our musical tastes there are also some definite differences too that we may well explore in the coming weeks and months. He loves his prog-rock, has much more time for the LA scene than I seem to have these days and owns albums across the whole rock spectrum from AOR to Thrash, Glam to Blues, Stoner to Classic Rock.

Bringing you more reviews of both old and new releases, features, live reports and opinion about Rock Music we hope you continue to read and enjoy what Rock Of Ages has to offer and also continue to comment and debate what we write. Music is emotive, no two opinions are exactly the same and we’re always ready to hear your opinion on anything published here.

Dave’s first review for Rock Of Ages will appear here tomorrow!

Welcome Dave !

WHO WROTE THIS?

From now on anything written on the site will finish will either BL (Bill) or DH (Dave) in the corner. That’ll tell you who’s twisted mind the article came from.

COMING THIS WEEK….

“Trans-Atlantic Metal Monday” does ‘nwobhm’…

Following the cultural devide of last monday’s Faster Pussycat review (boy did I not realise what that meant to the USA!) Rock Of Ages and Heavy Metal Time Machine both review a album by one of the leading lights of early 80s British Metal. Check back Monday for the third in the cross-blog review series…

MENU CHANGES….

Also keep an eye on the right hand side of the site as in the near future I plan a bit of an overhaul of the menu structure, hopefully making it easier to locate and navigate some of the features, live reviews and occasional series that have featured and will feature on the site.

BL

Various Artists - Radio 1 Rock Show Themes

Details :

• Year of release : 1982
• Label : Polydor POSP 168
• Review Format : Vinyl

Following on from yesterday’s “current UK rock radio” post, a break from the full length release review and a quick look at a fairly obscure 7″ EP release from the Polydor label that captured three iconic theme tunes from BBC Radio 1 Rock Shows.

The Friday Rock Show presented by Tommy Vance was a major part of my, and many British rock music lovers, formative years. Vance’s distinctive voice, his enthusiasm for the genre and the sheer quality of the music he played was the best excuse ever to wish for Friday’s to come around. Part of the excitement of settling down to listen to “T.V. play that rock ‘n’ roll” stemmed from the marvellous theme tune that launched the show. Written by current Deep Purple guitarist Steve Morse, the Dixie Dregs‘ Take It Off The Top launched 2 hours of entertainment the likes of which will never be heard again. This iconic track takes the A-side to itself for this release and was originally unleashed as the lead track from the Dregs’ 1978 release “What If”.

Side two opens with the Micky Moody instrumental Belgian Tom’s Hat Trick. A rocking slide guitar infused number that acted as the theme to another Tommy Vance fronted show from the late 70s entitled “Rock On”. Unfortunately little information about that show seems to have made it onto the internet but I did find a couple of mentions of Queen live concerts being featured. The song itself was drawn from the first Whitesnake album Trouble, which I reviewed a while back. One of the few songs released under the Whitesnake banner that didn’t feature David Coverdale.

The second and final track on side two is the southern rock band Grinderswitch’s earthy Pickin’ The Blues. A track that became better known in the UK as “The John Peel Show Theme”. As the only DJ still with Radio 1 from it’s launch to the day he died Peel’s show became an institution particularly to the more eclectic and offbeat rock fan. A measure of the man’s appeal and importance to Radio 1 is shown by the fact that he still has significant space on the Radio 1 website. Just check out the “Keeping It Peel” pages.

Summary : Nostalgia filled 15 minute, with for me anyway particular pleasure at hearing The Friday Rock Show theme and remembering some great shows Tommy Vance used to produce each Friday. John Peel get’s most plaudits over here for his unique rock show but for me T.V. will always be the DJ who had the greatest influence on my listening.

Score : 4/5

Rock On The Radio

PLAYLISTS, LINKS & “IT GOES UP TO 11″….

Just out of interest, I thought I’d share the playlists for recent editions of a couple of the UK Rock Shows I listen to regularly along with links where they can be heard worldwide….

THE ROCKSHOW with ANDY FOX - GTFM Community Radio (link)
(Wednesday 22.00 - 00.00 GMT+1)

Metallica - Sad But True
Megadeth - Symphony Of Destruction
Ozzy Osbourne - I Don’t Wanna Stop
Black Stone Cherry - Hell Or High Water
Joe Bonamassa - Bridge To Better Days
Priestess - Talk To Her
REO Speedwagon - Smilin’ In The End
Jan Akkerman & Focus - Hocus Pocus
Pink Floyd - Lucifer Sam
Jefferson Starship - Jane
Priestess - Lay Down
Led Zeppelin - Houses Of The Holy
The Answer - Keep Believin’
The Answer - Doctor
The Answer - Come Follow Me (live)
Priestess - Blood
Black Sabbath - Die Young
Queens Of The Stone Age - Make It Wit Chu
Spock’s Beard - Waste Away
Uriah Heep - July Morning
Tesla - Stealin’

(n.b. Various live streaming options are available from here.)

GET READY TO ROCK on the radio @ UK City Radio (link)
(Saturday 19.00 - 20.00 GMT+1)

Jimi Hendrix - Purple Haze
Deep Purple - King Of Dreams
The Tubes - Feel It
Chasing The Monsoon - ’studio edits’ (Karnataka members)
Wishbone Ash - Eyes Wide Open
Magnum - Start Talking Love
Iommi - Dopamine
White - Giving It Up
Iona - Everything Changes
Clannad - Stepping Stone
The Answer - Keep Believin’

(nb. Full ‘listen again’ option available at Get Ready To Rock each week.)

——

and for completeness here are links and tracklists for the current BBC Rock & Metal Shows….

BRUCE DICKINSON’S ROCK SHOW - BBC Radio 6 (link)
(3 hours - Friday 22.00 - 01.00 GMT+1)

Janes’s Addiction - Superhero
Zebrahead - Broadcast To The World
Boys Night Out - Heirs Of Error
Linkin Park - Bleed It Out
Bad Religion - New Dark Ages
My Alamo - Pornography
Ash - I Started A Fire
Lights! Action! - Us Against The World
Slaves To Gravity - Big Red
Monster Magner - Blow ‘Em Off
Frank Marino - You Got Livin’
Stealing Green - Give It All Back
Mellotron Overdrive - Every Corner
Gentlemen’s Pistol - Every Eye
Rammstein - Stripped
Lostphrophets - Davidian
Evanescence - Bring Me Back To Life
Clawfinger - The Price We Pay
Judas Priest - Grinder
Evergreen Terrace - Wolfbiker
The Agonist - Rise And Fall
Anthrax - Only
AC/DC - Have A Drink On Me
Ministry - Just One Fix
Nodes Of Ranvier - Sermon
The Sorrow - Knights Of Doom
At All Cost - Eating Lightning PtIII
Destruction - The Alliance Of Hellhoundz
Anterior - Human Hive
Devildriver - Horn Of Betrayal
Slayer - Disciple
Akercocke - Axiom
Akercocke - The Promise
Akercocke - The Dark Inside
White Zombie - Super-charger Heaven
White Zombie - Welcome To Planet M.F/Psychoholic Slag
White Zombie - More Human Than Human
Korn - Evolution

THE RADIO 1 ROCK SHOW - BBC Radio 1 (link)
(2 hours - Tuesday 00.00 - 02.00 GMT+1)

Queens Of The Stone Age - Sick, Sick, Sick
Slaves To Gravity - Big Red
Zico Chain - Anemia
30 Seconds To Mars - From Yesterday
Aiden - Sons Of Lies
Madina Lake - Here I Stand
Arsonists Get All The Girls - Mantipede
1000 Hertz - Fallen Ground
Blackhole - Forever
The Blackout - You And Your Friends vs. Me And The Revolution
Cursed - The Hands Will Abide
Clutch - Animal Farm
Slipknot - Opium Of The People
One Dead Three Wounded - Regret
Inhale Exhale - By Grace
Funeral For A Friend - Out Of Reach
Caliban - I Will Never Let You Down
Handsome - Going To Panic
Fugazi - Burning
Yourcodenameis:milo - I’m Impressed
Oceansize - Heaven Alive
Lamb Of God - Now You’ve Got Something To Die
Malefice - Into The New Light
Enslaved - Ruun
Some Girls - Beautiful Rune
Rolo Tomassi - Curby
Shels - White Umbrella

MASTERS OF ROCK - BBC Radio 2 (link) -
(1 hour - Thursday 21.00 - 22.00 GMT+1)

Unfortunately Bruce Dickinson’s more ‘retro’ oriented show is currently off air although judging by the playlists on the home page this would be well worth a return…

Of course we also have the digital Planet Rock radio station and also the web-based Totalrock.com which means that your never far from some rock and metal in the UK at present.

And finally….

How about the Pure Evoke 1XT Marshall Edition Digital Radio… yes, the dials go up to 11 !!!