Like Pink Floyd albums, David Gilmour solo releases seem few and far between, thus become events to listeners and fans. And with such a wait, expectations are high. So, 2015’s Rattle That Lock was an eventful one for David Gilmour fans – a new studio album, followed by a world tour. Rattle That Lock being Gilmour’s 4th solo (studio) album since 1978, and followed the 2014 Pink Floyd album Endless River. From the packaging alone, one can sense something special in holding Gilmour’s latter releases – beautiful cover art, gatefold, a 16 page booklet insert.
And then the music, starting off with the built up instrumental / overture “5A.M.”, and there is something about Gilmour’s guitar sound & feel that make this sort of stuff so appealing that I want to play it repeatedly. The title track is one of a few upbeat songs here, it is memorable, a fine choice for a single, with nice harmonies, the other more upbeat tune being the album’s other single – “Today”. Rattle That Lock is largely slower tempo, atmospheric music, but with a good deal of changes. It all flows together so perfectly through Gilmour’s guitar sound, voice, and top production. Favorites cuts have to be “Faces Of Stone”, “Dancing Right In Front Of Me”, and “In Any Tongue”, where Gilmour lays out his ‘heaviest’ and most memorable solo. There’s some different stuff here, such as the slow paced jazzy “The Girl In The Yellow Dress”, featuring cornet and saxophone.
Plenty of guests, plus the use of orchestra and choirs on a various tracks. Guests include Phil Manzanera (Roxy Music), Andy Newmark (Sly & The Familiar Stone), Jools Holland (Squeeze), British jazz bass player Yaron Stavi, among others. David Crosby (RIP) and Graham Nash add harmonies on “A Boat Lies Waiting”, and pre-recording-days Pink Floyd guitarist Rado Klose (I never knew). The journey of Rattle That Lock ends with a revisit of the opening theme on “And Then…” The ensuing tour would give us the Live At Pompeii release in 2017.
Well, as Steve Hackett is going out on tour to play Foxtrot to celebrate the album’s 50th anniversary, I pulled this out. My favorite Genesis album, the band’s fourth, and 2nd to feature the classic line-up of Peter Gabriel (vocals), Steve Hackett (guitars), Tony Banks (keyboards), Mike Rutherford (bass), and Phil Collins (drums). Released in October of 1972, Foxtrot was a #1 album in Italy and Top 20 in France and the UK. It starts off with one of the most recognizable mellotron intros to the classic “Watcher Of The Skies” . The song is majestic, with changes, theatrics, and superb production; the best song of the era IMO. But, Foxtrot is full of classics like “Time Table”, the acoustic based gem “Can-Utility And The Coastliners”, the epic “Get ‘Em Out By Friday”, and the band’s 23+ minute masterpiece “Supper’s Ready”. There is so much going on on Foxtrot, it just has more to discover every time. Foxtrot would be the last of 3 album coves for the band drawn by Paul Whitehead. One of the essential progressive rock albums to have.
NEW YORK-GENESIS: COMING OF AGE Why do you suppose it is that American audiences seem to immediately respond to British groups? And why do you suppose it is that Great Britain has consistently produced some of the very best and most talented musicians ever? One of the major factors attributed to the overwhelming success of the British invasion is dedication-pure and simple dedication. Another is originality. And that brings us to the beginning: Genesis. The nucleus of Genesis was formed back in 1966, and has, over the past six years, developed into a tightly knit unit of fine musicians/songwriters we have created a particular brand of what can be called narrative rock-though neither ‘narrative’ nor ‘rock’ best describes their musical genre. For Genesis lies in an- other musical realm.
‘watcher of the skies watcher of all His is a world alone no world is his own He whom life can no longer surprise raising his eyes beholds a planet unknown.’
At their best, Genesis is capable of weaving a tapestry of sound into a blanket of intricate song, Tony Banks (mellotron and keyboards) knows exactly when to become an entire orchestra, and when to lay back and be felt rather than heard. One of the dangers of using a mellotron is that a group can be easily compared to the Moody Blues or to Yes-but Banks, too, is a master technician, and no comparison need be drawn. He has developed his own unique style of performing, which, in conjunction with the remainder of the band, has given him his own identity. The other members of Genesis, Steve Hackett, Phil Collins, Peter Gabriel and Michael Rutherford, all contribute equally to the band’s overall sound. They play a variety of instruments and generate the necessary energy needed to comprise a total working unit. And when everyone contributes, everyone shares in the success.Genesis has for long been a favorite British band. Their first two albums, “Trespass,” and “Nusery Crime” have already become best sellers abroad. Their third, “Foxtrot,” was a top 20 LP in England and has just been released in America on Charisma Records distributed by the Buddah Group. On December 13, Genesis will make their debut American performance at Philharmonic Hall, and those of us who truly appreciate progressive music will be there. – CashBox, 72-12-09
GENESIS – Foxtrot Charisma (Buddah) CAS 1058 – For some time a top name in England, Genesis should begin to make U.S. headway with this interesting set. Tony Banks stands out on organ, piano and mellotron, and Peter Gabriel is a fine vocalist. Highlights on side one include “Get ’em Out by Fri- day” and “Watcher of the Skies,” while side two is given the overall title of “Supper’s Ready” follows a basic story line. Strong cuts include “Lover’s Leap” and “Ikhaton and Itsacon and Their Band of Merry Men.” – Billboard, 72-12-09
Genesis To Debut At Philharmonic NEW YORK – British rock group, Genesis, will make their first American appearance at Philharmonic Hall on Dec. 13, in a concert sponsored by radio station WNEW-FM and Charisma Records. The show, which will also feature Charisma artists String Driven Thing, is being produced by Dominic Sicilia. All tickets for the performance will be sold at $3.00, with the total receipts being donated to the cerebral palsy fund. Genesis’ latest album, “Foxtrot,” a top 20 LP in England, has just been released in America on the Charisma label, distributed by the Buddah Group. – CashBox, 72-12-02
British heavy metal band WYTCH HAZEL will release their 4th album June 2nd. Wytch Hazel, who also include elements of folk and prog, along with Christian based lyrics, also have a brand new video out for “Angel Of Light”. Citing the likes of Blue Oyster Cult, Iron Maiden, Deep Purple and Led Zeppelin (among others) Wytch Hazel’s music has a wide appeal to 70s classic rock fans. Two tracks from their forthcoming album IV: Sacrament can be heard and purchased at the band’s Bandcamp site – the above mentioned “Angel Of Light” (nice Thin Lizzy vibe), and the excellent “Digging Deeper”, which has an early Wishbone Ash feel. The new album features cool artwork from Nathaniel Winter Herbert, and will be out on Bad Omen Records (see SPELL, BIRTH, SATAN’S SATYRS) in multiple formats, including colored vinyl. *for album & merch orders – https://wytchhazel.bandcamp.com/album/iv-sacrament?from=fanpub_fnb
*Check out more info on the band below (from band’s site Bio) and links.
For many all-time-great rock bands in the ascendant, the fourth album is often the point where youthful years of febrile creativity and progressive momentum culminate in a masterwork for the ages, setting the seal on an early signature sound while opening it up to future possibilities. From enchanting 2016 debut Prelude, through 2018’s assured II: Sojourn, to 2020’s wizardly III: Pentecost, each Wytch Hazel album has embodied that old-fashioned notion of unstoppable progress, and the glittering treasure chest that is IV: Sacrament proves eminently worthy of rising to the toughest challenge. Not just the Lancashire quartet’s most classically beautiful production, but their strongest yet front-to-back collection of affecting hooks and ageless melodies.
A very tough challenge it was, too; records this good don’t get banged out willy-nilly, and Jimmy Page, Ian Anderson and Freddie Mercury didn’t have to fit recordings in between day jobs and school runs. “This album has been a trial,” sighs founding singer/guitarist Colin Hendra with his head in his hands, his voice full of cold. “It’s been a tough few years for everyone, which plays into it, but it was exhausting. Working full time, trying to be a dad and husband, running the band, writing the albums – and being a complete control freak about every aspect of the process…” Colin breaks off and chuckles at his Eeyorish approach to album promotion. “But there’s no gain without pain!”
The triumphs and tragedies are written all over IV: Sacrament. Working closely again with regular producer Ed Turner, Colin’s God-given gift for diamond songwriting has been enhanced to majestic proportions with Ed’s Roy Thomas Baker doozy of a production job, his expressive sonic trickery sublimely underscoring the varied musical moods. “Me and Ed like the same albums, so we’re singing from the same hymn sheet every time,” enthuses Colin. “We love the Sabbath production, obviously Martin Birch, and the Queen albums; we want it to sound like Wytch Hazel, which it kind of always does, but we want it to also have that classic sort of quality.”
Colin describes his working relationship with Ed as “perfectionism amplified. We’re a good match but bad at the same time! It takes ages to get an album done, but if it’s going to be done we want to do it right.” The new studio looked promising: a converted Baptist chapel in rural Wales, chock full of vintage gear. However, with personal reasons forcing drummer Jack Spencer to step back from the band (subsequently departing in September 2022), Colin took on the additional laborious task of completing all the drums himself. As well as all the vocals, lyrics, lead guitar and drums to fret over, there were so many mysteriously blown cabs, amps and vocal cords you might suspect the Devil was trying to stop anyone else getting the best tunes. “I don’t know why we have such bad luck,” groans Colin. “Engineers were scratching their heads, like ‘how have you done this?!’”
photo- Sam Scott Hunter
Now Sacrament is finally offered – and sounds as fantastic as it does after all the blood, toil, tears and sweat – you might think Colin could finally bask in the glory of this resounding achievement, but he’s not even fully comfortable taking credit for his own songs. “When I listen back there are multiple times when I’m like, I don’t even know how this happened,” he ponders. “I know I wrote it, but I don’t feel complete ownership over them. It has that sense in which… there’s something else, and I’m a part of it.” On previous albums, specific influences were readily discernible, and although Angel Of Light tips a nod to Angel Witch and Endless Battle nails the sweet spot between Steeleye Span and Judas Priest, Sacrament’s ten songs zero in on a sound and style that’s all their own. With assertive, explosive earworms like The Fire’s Control, Strong Heart and A Thousand Years and the profound emotive magnetism of Time And Doubt, Deliver Us and Digging Deeper, Wytch Hazel revel in their distinctive Wytch Hazelness. Colin’s Christian faith continues to inform much of his lyrical outlook, but there’s a disarming openness and emotional force that might have you reaching for the Kleenex.
“It’s some of the most honest songwriting I’ve ever done,” Colin reflects, “and they come from a darker place, I think. I’m getting older, that comes through in some lyrics: ‘see my body breaking’, ‘I’m digging deeper’, ‘time’s running out…’ I struggle to see the positive a lot of the time, so the songs end up being negative, the subject matter coming from constant striving.” Among all the doomsayer tendencies, gorgeous sylvan acoustic strum Future Is Gold proclaims a radiant optimism, but it’s more hope in the eternal than an expectation of earthly improvement. “It’s rooted in scripture,” Colin explains, referencing the Book of Haggai: ‘the glories of this latter house will be greater than the former’. “I struggle to believe that half the time, with the state of the world, but who knows what level that is? Will the afterlife be better, when all suffering has ended, or is what we see as better not actually better? If things are always going comfortably, it isn’t always the best thing for us. An element of suffering is necessary.”
Suffering has clearly been necessary for the creation of the fourth Wytch Hazel album; let’s hope for Colin’s sake the next one requires a bit less. “I’ve blown my own mind a bit,” he concludes. “And even after all this painstaking work, I still feel like I’ve only scratched the surface of what we could be doing musically. I wish I could have a month to work on one song, and go on a tangent a bit. I will in the future, it’s going in the right direction. I’ll get to the stage when I can commit more time and do an odyssey or something!”
Credits:
Drums, Guitars, Vocals, Piano & Organ – Colin Hendra Guitars – Alex Haslam Bass Guitar – Andrew Shackleton
Mandolin & Mellotron – Ed Turner
Recorded at StudiOwz, Pembrokeshire, Wales Produced and mixed by Ed Turner Engineered by Owain Fleetwood Jenkins Mastered By Terry Waker at Tonalex
Legendary guitarist Steve Hackett is pleased to announce that two of his ’90’s solo records will be released on vinyl for the first time ever in 2023, marking the beginning of a series of vinyl reissues of his solo catalogue. On June 2nd, 2023, the 1993 album ‘Guitar Noir’ & the 1999 album ‘Darktown’ will be made available as Gatefold 180g 2LP’s, each newly remastered especially for the vinyl format.
‘Guitar Noir’ (1993) saw Steve taking a darker approach to his guitar sound, and he was joined by Julian Colbeck (keys), Dave Ball (bass), Hugo Degenhardt (drums), Aron Friedman (keys), Nick Magnus (keys) & more for this record.
‘Darktown’ (1999) also saw Steve joined by Julian Colbeck (keys) & Hugo Degenhardt (drums), as well as Roger King (Keys, Bass, Drums), Jim Diamond (Vocals), John Hackett (Flute, Pan Pipes), Ian McDonald (Sax) & John Wetton (Bass Samples). This edition of the album also includes the 3 bonus tracks included on the 2013 CD reissue.
Steve comments: “I’m thrilled that my two albums Guitar Noir and Darktown are being release on vinyl for the first time! My music took on a darker edge for both those albums, and I explored additional sounds and genres I hadn’t touched before.”
Following the Wuppertal show with full orchestra, Steve Hackett and band will continue their Foxtrot at Fifty plus Hackett Highlights tour in Europe in April and North America in the autumn.
Steve Hackett Steve Hackett joined Genesis at the beginning of 1971 and gained an international reputation as the guitarist in the band’s classic line-up alongside Peter Gabriel, Tony Banks, Mike Rutherford and Phil Collins. Hackett’s intricate guitar work was a key element of Genesis’ albums from Nursery Cryme (1971) to Wind And Wuthering (1977) including the classic Selling England By The Pound. After leaving Genesis at the end of 1977, Hackett’s solo career, which now spans more than 30 albums, has demonstrated his extraordinary versatility with both electric and acoustic guitar. Hackett is renowned as both an immensely talented and innovative rock musician and a virtuoso classical guitarist and composer and this was recognized in 2010 when he was inducted into the Rock Hall Of Fame. He has also worked alongside Steve Howe of YES in the supergroup GTR. Hackett’s compositions take influences from many genres, including jazz, classical and blues. For his later studio works The Night Siren (2017) and At The Edge Of Light (2019) Hackett has explored the influences of world music. Recent tours have seen Hackett celebrate his time with Genesis including a spectacular 2018 tour in which he realised a long-held ambition to perform the works of Genesis live with his band and an orchestra. The lockdown enforced by the 2020 global pandemic has proven to be a particularly creative period for Hackett. He began by releasing Selling England by the Pound & Spectral Mornings: Live at Hammersmith, a live recording of 2019’s hugely successful tour celebrating that Genesis classic together with the 40th anniversary of one of his most-loved solo albums. Lockdown also gave Hackett the opportunity to write and record two new studio albums, the UK Classical Chart hit Under A Mediterranean Sky and Surrender of Silence.
SAXON recently released a sequel to their 2021 covers’ album Inspirations. So, More Inspirations is 10 classic rock songs that have been been given the Saxon treatment. I do Not normally like or buy covers’ albums, but the 2 Saxon have made I am happy with. The band tends to choose plenty less-then obvious gems to include. They also keep the production simple, without adding things that are not part of the song or not part of the Saxon sound, hence there’ s no keyboards on the likes of “Gypsy” (Uriah Heep), or “Man On The Silver Mountain” (Rainbow), which is fine, both still sound great!.
Favorites here include the band’s takes on “Tales Of Brave Ulysses” (Cream), “Substitute” (The Who), “From The Inside” (Alice Cooper), and Nazareth’s “Razamanaz”, which suits Saxon & Biff’s voice perfectly! Love the band’s performances here, and Biff has one of the most recognizable voices in British rock. Well worth checking out!
Rock Group “Midnight Daydream” Feat. Son Of Late Guitarist Bruce Cameron To Release Self-Titled Debut Album
The writer, producer, engineer and main performer on the album is Riley Cameron, the son of the late guitarist Bruce Cameron, who tragically passed away in 1999 shortly after releasing his debut LP titled “Midnight Daydream”. An album that featured a plethora of rock legends. Inspired by his father’s work, the only viable option was to carry the musical legacy that his father left behind.
The self-titled album features a blend of hard rock, electronic, hip-hop and various other musical styles that create a modern sound that captures a spectrum of influences.
The “Midnight Daydream” LP is set to release on July 5th, 2023 and will be available on all mainstream platforms, including Itunes, Spotify and Youtube. Physical Copies and merchandise will also be available through their merchandise store via BandCamp.
Italy’s RAINBOW BRIDGE have a new album out, Drive being their fifth full-lengthy album. Eight tracks, with blues, psych, southern, and heavy rock elements. Lots of great guitar, including a few cool instrumentals. Drive starts off with the slower paced “Until My Wings Wills Be Stronger”, which a few of these tracks are. Standout cuts for me would be the instrumentals “Black Monday” and “Still Drives” – which starts and ends acoustically, but in there it builds into a nice driving rocker. The 14 minute+ epic “Tears Never Here” is also great, another driving tune, with plenty of changes, an acoustic intro reminiscent of Zeppelin; includes an excellent vocal as well, making for a dreamy summertime tune. *For more info check out the press info and links below.
‘Drive’, the new album by Apulian Rainbow Bridge,comes almost three years after the latest, ‘Unlock’, released in the summer of 2020.
‘Drive’ is ideally divided into three parts. A first part is dedicated to the songs, a second part to the instrumental pieces and finally a long ‘concept’ suite that contains all the souls of the band.
«Our most ambitious project so far – says the band -, a kind of double album, like all our favorite bands have done.»
The band’s references start from classic rock – The Who and Jimi Hendrix Experience – a good influence of Irish hard blues – Rory Gallagher and the early Thin Lizzy – mixed with the more current sound of Brant Bjork (ex-Kyuss)’s stoner/desert rock and Color Haze.
Rainbow Bridge will release ‘Drive’ on CD and digital platforms on March 24th. Find digital preorders at Bandcamp HERE.
Giuseppe JimiRay Piazzolla – vocals, acoustic & electric guitars, lyrics Fabio Chiarazzo – bass guitar, lyrics, background vocals Paolo Ormas – drums, cymbals, background vocals, lyrics
Arranged & Produced by Rainbow Bridge. Recorded, mixed and mastered by Cosimo Cirillo at New Born Records studio. Pic by JimRay – Artwork by Nesia_Earth
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TRACKLISTING:
1. Until My Wings Will Be Stronger 2. Years of Beer 3. Black Monday 4. I Saw My Dad Play Air Guitar 5. Make Peace 6. Stills Drives 7. Tears Never Here 8. Coming Out
BIOGRAPHY:
Rainbow Bridge was born in 2006 inspired by the sounds of the Jimi Hendrix Experience and heavy psychedelic blues. Right from the start the band tried to give a personal touch even if they were cover songs or standards. The band played in many rock and blues festivals over the years – Blues in Town, WoodInstock, Jimi Hendrix Live, Campania Blues, Bitonto Blues, South Italy Blues Connection, Blues a Balues, Dogana Blues, Freakout Stoned Fest ecc. – and opened for bands like Oh Sees, Putan Club and more. Over time, several bassists have come and gone in the band but when Fabio in late 2015 joining trio, the band started producing new music. Since 2017, three self-produced albums have been released on Bandcamp – plus a live album and a cover album – with very positive feedback from the press and critics even outside Italy. The band is featured on the first volume of the ‘Stoner Freak Anthology’ with second album ‘Lama’.
CHARLIE was a British band, that initially started out as a fairly hard-rock guitar band, and it’s the band’s 1976 debut album Fantasy Girls that is easily the best in their catalogue (IMO). The band here comprised of Terry Thomas (lead vocals, guitar), John Anderson (bass, backing vox), Steve Gadd (drums, percussion), and Martin Smith (guitar, backing vox). Fantasy Girls came with different covers for each side of the Atlantic; I prefer the UK version, subsequent albums would feature models on the covers, which were an improvement.
As for the songs, this album is full of great guitar, with plenty of different styles and blends, heavy in places, harmonies, melodies… Not quite an overly heavy band, but holding back with smooth production, and a variety of cuts. Some massive solos, like these guys were torn between wanting to be an-out 2-guitar hard-rock/metal act and vocally an American smooth sounding AOR band. Regardless, every track is good here, but highlights have to be the title track, as well as “Prisoners”, the single “TV Dreams”, and the closing straight ahead rocker “Summer Romances”.
There’s not a lot out there (that I could find) in the press, and I suspect it wasn’t huge at the time. No North American single. Follow up albums seemed to get somewhat softer and smoother (tho’ I do like No Second Chance and Good Morning America!). Fantasy Girls has been reissued a few times – including one from Renaissance Records in 2006 with Another cover! Drummer Stephen Gadd would go on to be a drum tech for Iron Maiden years later, and Terry Thomas would become a major producer, notably with Bad Company in the ’80s (notably with Tommy Shaw, Bad Company, Foreigner, Giant, and Tesla).
CHARLIE- Fantasy Girls, Columbia PC 34081. Good, straight -ahead rock set from British quartet who approach rock in a simple, forward fashion. Good lead and good harmony and backup vocals, with lyric quality better than in most of the newer rock groups. Nothing extreme, as the band stays away from the heavy metal syndrome. More along the lines of some of the better fun rock of the ’60s. Best cuts: “Fantasy Girls,” “Don’t Let Me Down,” “First Class Traveller,” “Please Let Me Know,” “Summer Romances.” Dealers: Several potential singles here. – Billboard
CHARLIE: ‘Fantasy Girls’ (Polydor Super 2383 373) When I saw Charlie on the Old Grey Whistle Test, I thought they were tedious Their album, however, shows a much tighter control of the music then the live appearance. Their main problem scorns from a lack of originality. Their playing is competent but couldn’t be distinguished from the sound of a 101 other bands. Their lyrics aren’t exactly gripping either, le: “I have my dreams although I’m broke, acute skintitús is no joke.” That speaks for itself I think. – Rosalind Rusael, Record Mirror
Heavy doom/metal trio WOLFNAUT, hail from Norway, and this will be the band’s 4th album, though the 2nd under their altered name from Wolfgang. Return Of The Asteroid is a good album start to finish, with some cool different sounding songs, aside from the heavy rockin’ cuts which stand out like the opener “Brother Of The Badlands”, “My Orbit Is Mine”, the faster paced “G.T.R.”, and “Something More Than Night” (something in that guitar break reminds me of Thin Lizzy). Best cut here tho’ is the slow haunting ballad “Arrows”; pretty unique atmospheric track. 9 tracks in all, ending with the 10-minute+ slow, dark epic “Wolfnaut’s Lament”.
*Return of the Asteroid will be released on black vinyl, limited colored vinyl, CD and digital on April 21st through Ripple Music. For more info, check out the band bio / press release below.
WOLFNAUT (formerly known as Wolfgang) started life in the mid-1990s in the town of Elverum, a two-hour drive northeast of the Norwegian capital Oslo. Their energetic live shows and debut album, ‘Welcome to the Cactus Mountains’, went down a storm in their hometown, and the album even garnered a solid review in Kerrang! WOLFNAUT reformed again in 2013, and the band released its second album, ‘Castle in the Woods’, to raving reviews in 2016. The band’s aptly titled third album “III” was released in 2022. “III” brought the Norwegian trio’s blend of catchy tunes and heavy stoner riffs to a larger international audience. For their fourth album, WOLFNAUT has teamed up with US-based label Ripple Music to spread the word even further.
“Return of the Asteroid” is the slightly darker and doomier cousin of “III”. Wolfnaut’s penchant for writing catchy rockers is still very much alive and well on songs like “Brother of the Badlands”, “My Orbit Is Mine” and “G.T.R.”, but “Return of the Asteroid” also sees the band developing their love for more dynamic songs. There is more of both light and shade on Wolfnaut’s fourth long-player, which can clearly be heard on offerings like “The Mighty Pawns”, “Crates of Doom” and “Wolfnaut’s Lament”. The album even introduces a first for the band: a ballad! “Arrows” was originally released on “Castle in the Woods” in 2016, but the band didn’t feel that the hard rock approach on the original recording did the song justice. Stripped down to its core elements, the song now has a new lease on life.
“Return of the Asteroid” was recorded at Audioskop studio, Sofiemyr, Norway. Production was handled by the band, with invaluable help from engineer extraordinaire Bjørn Barstad. Swedish sound wizard Karl Daniel Lidén (Greenleaf, Lowrider, Dozer, Demon Cleaner) was enlisted to mix, master, and put the finishing touches to the album. Eminent graphic designer Mirko Masala created the visuals. With a career now spanning 25 years, four albums and countless live shows, WOLFNAUT is ready to spread the word of Norwegian stoner rock to an even wider international audience. Now part of the Ripple Music family, expect to see the band somewhere on the road in the not-so-distant future.
TRACKLIST: 1. Brother of the Badlands 2. My Orbit Is Mine 3. The Mighty Pawns 4. Crash Yer Asteroid 5. Arrows 6. G.T.R. 7. Something More Than Night 8. Crates of Doom 9. Wolfnaut’s Lament
WOLFNAUT: Tor Erik Hagen – Bass Ronny «Ronster» Kristiansen – Drums & Percussion Kjetil Sæter – Guitars, Vocals & Piano
Years back I got The Best Of Bad Boy CD, and over the years I’ve picked up the band’s LP when I see them locally – which is scarce, since they were on a small label and not all of them got released outside of the US. However, the band’s first album is from 1977 with the interesting title of The Band That Milwaukee Made Famous, showing a camera with a photo of the band in front of the city’s welcoming sign. Recently I pulled this out, and it’s a really good late 70s American hard rock album! What’s notable is the presence of Steve Hunter (special guest) on guitar. Bad Boy (which evolved from Crossover) consisted of Steve Grimm and Joe Luchessi – both guitars/keys/vocals, as well as John Marcelli (bass) and Lars Hansen (drums), with this album being produced by Bob Brown, who’s credits included names such as Ray Manzarek (The Doors) and Alice Cooper (Welcome To My Nightmare). Interesting also that for being a local band, they were taken to California to record this at Warner Brothers Studios.
The Band That Milwaukee Made Famous highlights included “Disco”, a catchy funky rock tune, this was a single, and it should’ve been the album’s big hit. As well the heavy instrumental “Overture”, which strangely is the 2nd track on the album, it features a cool quiet built up organ intro and then some heavy cool guitar melodies. “I Gotta Move” is another good rock track with a bit of funk; this one and “Disco” both kinda feeling like they could fit on a Teaze album (Canadian band from the same late ’70s era). There’s a number of excellent songs, and lots of variance here from the opener “Last Rock And Roller” (that guitar solo reminding me of ‘Skynyrd), the acoustic rock of “Mindless Babbling”, the single (and more AOR-ish “Thinking Of You”, and straight ahead rock of “Shake Me Up”. If you’re into the likes of Teaze, Harlequin, Y & T, and Charlie, check this album out. And for whatever reason, none of the tracks here are included on the band’s 1998 Best Of release.
BAD BOY -The Band That Milwaukee Made Famous, United Artists UALA781G. This quartet of regional musicians has amassed a sizable legion of fans in Milwaukee. The music ranges from mainstream pop to driving rock sound enhanced by the presence of guitarist Steve Hunter. Best cuts: “I Gotta Move, “Machines,” “Thinking Of You, “Mindless Babbling.” – Billboard
THE BAND THAT MADE MILWAUKEE FAMOUS – Bad Boy, United Artists – UA-LA781-G – Producer: Bob Brown – It won’t be long before the rest of the world knows what Milwaukee is already aware of. From the city that brought you all that great beer comes this band of polished rockers with high energy and talent plugged directly into their amps. A guest appearance by guitar standout Steve Hunter is an added bonus in a package that features well -written arrangements and superior vocal treatments. An album that is accessible enough for pop and sophisticated enough for AOR. – CashBox
Outsider Rock 